Hey everyone, welcome to my channel. If you're looking for a place to learn about how to practice your instrument efficiently and effectively and get tips and tutorials on how to set up practice routines and more, you're in the right place.
I've been playing trumpet in professional orchestra, teaching, coaching, and creating content for many years, and I'm excited to be able to share what I've learned with all of you!
Пікірлер
Ryan I know you’re using a spreadsheet but I have to say that your approach and the GOLD Method app is really helpful for me. I’m still using it and it takes all superstition out of practicing for me and I’m seeing consistent results!
Dear Ryan, I think you mean well, but this information is really dangerous and I would strongly advise not to follow any of the suggestions given here. If you simply set your mouthpiece higher and check te mirror if the mouthpiece stays in place and looks good, I would say that at least 50% of players will get into serious and irreversible trouble. It doesn't work that way. I have students with textbook looking embouchures that sound totally shitty, and I have the worst looking embouches playing great without any trouble. Perfect looks and perfect placement don't exist. A perfectly working embouchure, whatever it might look, DOES exist, though. You might have already guessed that I am one of the people that went through this kind of direct embouchure changes in the past, and it basically ruined my trumpet playing. Happily enough, I found a couple of good teachers later in my life, none of them advocating direct changes BTW, and I have had a good playing career, but it really made life more difficult. If you want to be a good teacher, look into the teachings of The Balanced Embouchure (Jeff Smiley), The Singing Trumpeter (Peter Bond), Jim Pandolfi and maybe also Greg Spence's work. Direct changes on the embouchure are a very dangerous numbers game and I can only urge you to not go there with any of your students. Not trolling you, but only very, very concerned.
What's wierd to me is that I play a couple hours a day. Because I love the horn. But it seems like only improvement I feel is tone. I know fingers are slowly getting faster, but definitely taking its sweet time
The emotional support, and setting clear as well as achievable goals is so important.
Great video! Many years ago Donald Reinhardt wrote lot of stuff about embouchure classification and how you should practice with your type of embouchure. I fixed my embouchure problems after moving around from a system to another during my career. Reinhardt's ideas opened my mind and made me a better teacher.
The bottom right is the shizzle
I'm curious to know what doing this from the opposite end of the spectrum would look/sound like, playing flatter then moving up
Thick fleshy lipped players often can't fit the vermilion inside the inner rim. I doubt Clifford Brown could, for example.
These are awesome tips, love the segment on self talk!
much needed video. Been going through this
I almost quit. Am still having challenges 😔
I hope this video helps give you some helpful information!
@@RyanBeachtrumpet Sir. I used to play upstream with a reverse pivot. I didn't go through the change until after I graduated with my master's degree. I got on the sublist for the Indianapolis Symphony and even played two services with them while I was playing upstream. The mouthpiece was also a little low too beneath the red. I also have an overbite. Although I'm confused why I got to play with a major orchestra before the embouchure change?
I haven't had a gig in months, am unemployed, back with mom and dad 😞. It has been quite rough. I've still tried to keep up with my trumpet 🎺 playing. Yet it just feels like a waste. I went through embouchure work about five years ago.
You don't want to be me sir. If I had students I personally would not 🚫 do that something like that with them. Many of them end up reverting back to their old embouchure. I had the same issue and it almost cost me getting canned from a holiday pops concert six months into the adjustment. No joke 😞 as this is not 🚫 your typical sob story sir.
@@JoeJoe-rt1fkif you were working professionally, I wouldn’t have gone through a change like that. In my opinion, embouchure changes are not worth it if you’re playing well enough with a ”bad“ embouchure. My guess is that you had some bad habits that they thought an embouchure change could correct. While that can work, it requires a heightened awareness of the habits you’re carrying into a change such as yours. I‘m sorry to hear that you’re going through rough times but there is definitely still time
I do!
I have a KZread channel as well sir. Should you take a listen? You'll see and hear what is going on. I've recorded everything on my android phone 📱. So it's not the best of quality and It's all unedited.
Good video thank you so much .
Vsry helpful thanks
The section should be tuning to the principle. If you’re a traffic cop to the orchestra in complex rhythmical passages you must be, in your own affable Ryan way, an absolute tyrant to your section regarding intonation. (I can imagine Bud didn’t cut Charlie much slack).
The before-&-after comparisons are striking. I thought you would demonstrate the two approaches in your living room so we could closely hear what you’re doing in the “correct” hall version.
A lot of helpful information .Thank you for taking the time to make this video , much appreciated.
Of course, I’m glad you found it helpful!
So much work for something that unfortunately contains no music...
🎉great stuff
Thank you 🎉
Ryan, as a high school trumpet player, your videos are extremely helpful when it comes to improving my technique and finding repertoire. If you happen to see this comment, could you share the name of that lyrical piece you played at 6:41? It sounded beautiful, much due to your incredible tone!
Someone to watch over me by George Gershwin. Arranged by Joseph Turrin. Thanks for watching my videos!
Sounds Great 👍 sir!
What's your opinion on Belck's book ?
I think it’s great! The Bai Lin book is more simple, which I like when getting a groove going. But I’ll switch to his book soon.
@@RyanBeachtrumpet thank you for your reply and your videos gives me and all of us players food for thought .
This reminds me of school during Covid - we recorded everything! When the recordings were for ensemble productions it was always a process of listening back and refining. It’s all good until someone tries to doctor a recital submission, though. Lol. But this is how it’s done in the real world studio environment so it was a great walkthrough for people not familiar with the process.
Ryan....I mean for real, wow! I'm just a hobbyist trumpet player but I glean KZread a lot watching professionals like you for inspiration, tips etc...I get to play regularly and I care a lot about how I sound etc... BUT you always amaze me with etudes such as this...I'm simply amazed these can be played....I couldn't even begin to undertake this...some of it is being a hobby player I never learned double tongue technique etc.. I only played two years in Jr. High and church has kept me playing over the years...I fell in love with playing my horn in my early 20's so I never studied in college or even high school...great video...great inspiration on what can be obtained on the horn with diligent purposeful practice...I love Hakan's Charlier vids as well...I wish he would finish those!
Sorry... I've got 4 Bachs... including my 1965 Strad.
Thanks ok, no need to apologize!
Ryan presents an EXTREMELY well balanced approsch... one that directly parallels the best Long-Tone approach out there. What he lays out, will get you there as long as you adhere to his method. REST, as he integrates it, is just important as the playing is... including subsequent days.
hey ryan great video ! I'm developing better intonation with my trumpet and found it difficult to play in tune and centered but I'm still at it and won't stop until I've combined the two. You're centering the tone video and this video are critical pieces to the puzzle I'm trying to complete so thank you. Quick question though, while centering the sound and the playing in tune is possible for me on a long tones, what do you recommend for one to do for faster pieces ? Thanks
Practice the faster pieces a little slower so you can hear the notes and whether or not they are in tune. Then gradually speed it up, aiming for the intonation you found was best.
@@RyanBeachtrumpet Thanks! Cheers
This is terrific. In orchestra, or in any context where the listener is back in the hall, what we hear is not what they hear. And what they talk about with the brass in general listening to the principal trumpet setting the tone for articulation and style is not talked about enough but is so important. It's not that the principal trumpet is more important than any other part, its that we (they) are usually the highest part in the brass, we do end up being the the QB for the brass section. Over the years, I've gotten feedback from other instruments that what I do as principal trumpet often sets the tone for other sections. It's a really critical role and an awesome responsibility.
Couldn’t agree more!
I've had the pleasure of playing and trying out several professional level horns in all my years of playing trumpet, including several Bachs and Yamahas. Don't get me wrong, All the Bach models that I've tried are wonderful instruments with some even having some history behind them and they sound amazing. But I think the reason for choosing Yamaha over Bach is just simply that they always seem to treat me better. Broad spectrum sound, ease of playing (no matter what mouthpiece I use on it), and overall consistency and impeccable quality are just some of the reasons why I seem to prefer Yamaha over Bach.
Wow, I wish I heard this earlier! I love your approach to this
Glad you found it helpful!
2:14. "The goal is to get the fifth to feel like the top note in terms of ease"? The top note is the hardest least easy note.
Maybe I said it in a confusing way. The goal is to get the air speed, energy, intensity, etc. of the top note on the fifth so that you maintain that energy on the way down and back up. The hope is that if you can play all the notes in a similar manner, the top note doesn’t feel as difficult to reach.
@@RyanBeachtrumpet thank that makes sense
Great video. This was very helpful
Thanks for watching! Glad you found it helpful.
It sounded quite good. It goes to prove it’s the musician more than the equipment that makes the difference. And I like the shout-out to Orono, ME. I’m from Portland and had a lot of friends that went to the University of Maine, which has a good music program!
Ryan, what model is it? Looks like an early 6310Z or 636 (the horn designed by Bobby Shew and Bob Malone). I actually think it sounds great!! They are interesting horns with a stepbore design based on the old Martin Committee model.
I don’t actually know. There’s no markings on the bell or anything.
@@RyanBeachtrumpet should be on the second valve
Looks like a Bobby Shew.
You didn't mention which model Yamaha your friend owned. Sounds awesome
I didn’t find any markings on the bell, so I don’t actually know which model it is!
Is it on the valve casing? My 4335 is stamped there. I have seen an older 6000 series where it was stamped there as well. In any case, it looks like a “Bobby Shew” variety. FWIW, articulations seemed clearer on that than your standard, but perhaps that’s due to mic placement and the commercial intention of a Shew horn.
Just out of curiosity, what are the model #s for the two Yamahas?? A Cat Anderson story from his Conn Connstellation years on trying out the Conn Director (student) Coprion bell model: 'Are you sure this isn't your top of the line model?? I like the A better on this one.' There are some very nice horns out there masquerading as student models.
I don’t know what Michael’s horn is, but mine is a Gen 3 NY Bb.
I have a Conn Coprion student trumpet and I like to play it sometimes because it sounds pretty .
I figured there would be a bigger difference between the trumpets for sure
I love how brass instruments really can be the epitome of a "diamond in the rough". I just finished going through my school's inventory of instruments which included about 15 student model horns (Bundy, King, Olds, Yamaha)...some of which were in ROUGH shape. I caught myself thinking "Dang...does this sound better than my Shires??" more than once while I was playtesting everything.
I totally agree. I had a similar experience when I was younger. I dated someone who’s sister had a really beat up trumpet, bell was bent and messed up. I got it fixed up, and it was a great horn.
This reminds me of what Phil Parker told me in the 70's "First the man, then the mouthpiece and finally the instrument". You just proved that!
I think he’s right!
now days…..definitely a closer ‘Ford vs Chevy’ situation! You have your die-hard fans from both camps…. Yamaha pretty hands down some of the best beginning and intermediate horns….gap really decreases once you get to the Bach 180/190 series and the Yamaha artists custom series. Basically boils down to $$ and player preference. 5k for a horn is insane…my fist Bach 180s37 only cost $650…..in 1985! 🤣🤣🤣
I like to practice Clarke #2 with different scales: harmonic minor, octotonic (diminished) and whole tone. Other things to do with Clarke #2: play them upside down or play them in 7/4 or both. There's a great method book by Bryan Davis that has all these written out; recommended. I think it's called "Twisted Technical Studies" or something like that. Very helpful vid, Ryan; thanks for that.
Playing Clarkes with different scales is a great idea. Make it more challenging and more interesting!
Hi Ryan! Thank you so much for your videos. They are easy to follow and bring about a lot of epiphanies. We met at SOI 5 or so years ago. This explanation is so great, I think you can market it to more musicians than just trumpet. I know a lot of woodwind players this explanation would immensely
I definitely remember you! I appreciate the support and the encouragement to branch out!
Real, natural and great. Thanks Ryan. I subscribe 👍
Thanks! Glad you enjoyed the video.
"Learn how to articulate within a slur." (Step 2). Nicely said. Thank you for putting the score on screen! That is excellent teaching.
I’m glad it made sense! I try hard to make the videos I produce as clear as possible.