@j-jericho said in Schlossberg Routine for rebuilding Chops.:
@dr-go Trading message for massage would provide improved benefits overall. True, you need to get the message about the massage first; otherwise the message gets lost, and you miss the massage.
Your message came through loud and clear and was a good massage for my mental reboot. You have done well as my BigDub proof reader understudy.
@dbtrumpet said in Schlossberg Routine for rebuilding Chops.:
Rest is the best medicine but when you have shows coming up right away this Schlossberg Routine from Dave Belknap is a big help. I remember back in the day having a week with Ringling Brothers, the Temptations the next week, a Broadway Show with Tommy Tune and some subbing with the Symphony. I would come home after the gigs and do much of this routine at night, kept me going.
Rest as you noted above is good advice, but when you cannot rest (as you noted in some practical situations) then you also have message. Massage during the performance (sometimes ice massage after the performance) works well. Getting the lactic acid out of the muscle (through massage) is key. Lets put physiology to work, yes? If not, it becomes pathology.
Tastefully applied by Trombone Shorty from 0:43 to 2:41 (almost 2 minutes of circular breathing). Check out the reaction of the audience. This is what I experience in crowd reaction as well.
@trumpetb said in A way to practice.:
Hi Dr GO
That recording is truly excellent.
I withdraw my offer on the basis that I dont measure up.
I will get back to you in 9,999 hours as you suggest
Thanks. With great people backing me up (like Kenny Drew Jr on piano) how can you go wrong?
@trumpetb said in A way to practice.:
I took you at your word and as an experiment half valved my cornet and the sound I got out of the bell was a realistic representation of a hippo farting in a john.
I suspect your 10,000 hours may have been far more focussed and productive than my feeble attempts.
Keep trying. You only have 9,999 hours left to perfect it. 
@trumpetb said in A way to practice.:
@ Dr Go
Do you need a Triangle player????
Interesting concept to using a rhythm instrument. Somewhere along those 10,000 hours I found that with half valving (especially on the flugelhorn) you can get a really authentic Cuica sound on the horn.
Here is a tune I recorded with my quintet (actually Eddie Brookshire's Quintet) that has a Brazilian bossa feel. I am playing my 4 valve Getzen flugelhorn on this tune, and my solo starts about 2:30. At 3:13-3:20, I use the Cuica sound to bring out the Brazilian flavor of the tune, called "Edge of the River"
@trumpetb said in A way to practice.:
@ Dr Go
Do you need a Triangle player????
Have you been playing it for 10,000 hours? OK, I'll give you 3,333 hours since it has 3 sides.
Taking it to another dimension. Fourth valve. My flugelhorns must have 4 valves as engaging the alternative fingerings with the fourth valve depressed, keeps those flugelhorns in a true tone. And while my Kanstul has a first valve tuning trigger, I never use it as it's fourth valve when engaged, covers the task at hand. My Getzen flugel, has no trigger, and I like it that way.
@kehaulani said in Third valve:
Could be psychological, but I've had three Committees and a bunch of other brands and I play the D/C# not only in tune on the Committee but, I think, in the core of the sound, while on others, I can also play with the third-valve slide in tune in its natural position, but feel I have to bend the notes down and that the core is not on target. (Whew, German-length sentence.)
This has been my experience as well. I no longer play with the third valve slide ring on my Committee. It has no purpose due to the natural keen slotting of the third valve fingerings on this horn. All of my others, my Olds, Getzens, Harrelson, I need to extend that third valve slide to keep those C# and D's in tone without working to lip them into tune.
Yes, even for the Harrelson, that slots a bit greasy like my Martin Committee, but just does not have the same third slide accuracy as my Committee (even though I paid 3x as much for the Harrelson than the Committee!)
@trumpetb Not sure if your calculation applies to me. I practice a full 60 minutes a day, 365 days a year, do not rest from time I start to the time I finish, other than clearing my spit valves, and turning pages to the next tune. Just this alone will give me 10,000 hours in 27 years.
But then there is gigging time, and pre-pandemic I was gigging 10 gigs a month at 3 hours of performance of which a third of the time was total lip time keeping the hour playing concept intact.
I started playing the Hammond B3 in night clubs at age 7, and practiced BOTH the organ and trumpet daily though to High School, then the trumpet almost exclusively thereafter. I am now age 67 which gives me almost 25,000 hours of playing experience. So, you may have to drive yourself a bit harder to achieve such a goal.
The result, is I can go into any gig, and play through almost any tune called out by the rhythm section, in any key, with a solid approach of confidence in my performance. This has resulted in my constant calls from area musicians to sit in or cover any chart (from the lead to 5th trumpet part) that keeps me playing routinely, and yes, back on track with my pre-Covid performance schedule at this time. From my perspective, those 10,000 hours + has really paid off for my music career.
@dr-go said in What’s your “sound” and how do you get it?:
My sound is based on the spoken voice. I have built my performance style around the concept that the musical notes are a graphic of the spoken or sung phrases. So I have developed my trumpet voice upon the human voice and play the words to the song, more than than the notes to the song.
I quote myself as the spoken voice concept, or more specifically "singing through a phrase" was again a technique that Claudio Roditi had me due during my lessons with him. He would have me transcribe a jazz artists' solo, have me run it through all the keys, then go back to the original solo, play it again, and then sing (not play it) with original ideas. This was my lesson plan with every session (I met with him weekly for 18 months) I had with Claudio. No rudiment book, no playing from the Real Books, just transcribing solos from my priorities, and then playing through them with Claudio's critique as to the style, a comparison of my interpretation from the original, and how to take a phrase from another artist and make it my own. His goal for me through my time with him, was for me to develop my own voice. So the voice I have today is a direct result of the 18 months of studies I had with Claudio.
@kehaulani said in A way to practice.:
My understanding is that 10,000 hour "rule" pertains to practicing, not just playing. Does anybody know how that 10,000 hours pertains to daily [practice hours?
Gladwell first claimed the rule when describing the Beatles performance schedule in Hamburg Germany from 1960 to 1964 were he calculated 10,000 hours of non-stop playing that trusted them toward their oncoming fame. So in his description, it is total playing time. With this said, I through this perspective, isn't all playing time an ongoing learning experience?
@georgeb Yes. The 10,000 hour rule 
. It's real and powerful. I have applied it well in my practice of the trumpet and my practice of medicine.
@kehaulani said in Circular Breathing:
Caveat. I have nothing against circular breathing or those who use it.
On the other hand, I don't need no stinking Kenny G hotdogging.
I believe Kenny G holds the world record for the longest held note at 59 minutes.
I believe that some military forces use that recording as a method of torture.
@trumpetb said in Third valve:
Thirdly the Martin Committee has a reputation for being easy to lip and the notes dont centre on this instrument as strongly as on other instruments.
For me, playing a third slide note on a Martin Committee has nothing to do with liping 
a note. It's just there, in tune, rock 🪨 solid.
There is just something magical about the Committee that results in accurate third slide slotting.
I will start the discussion by noting I love using this skill with playing the blues. I typically start my solo with the circular breathing for at least one chorus, perhaps two of the blues tune, then explode into a flourish of runs off the same breath.
Here is a facebook link to one of my recent performances that was caught by an audience member at the beginning of one of my blues solos. Unfortunately the video is too short to show the transition of the solo after the circular breathing phrase, but it still gives an idea of the process:
https://www.facebook.com/1368582191/videos/pcb.10229092433279995/1182437605670330
The lesson plan I had when I studied under Claudio Roditi was to develop an improv voice by transcribing the solos of other performers. I chose to transcribe sax solos over trumpet solos so I could achieve a uniqueness of voicing uncharacteristic of the trumpet. Claudio loved it.
One of the skills of sax players I observed was their use of circular breathing, so I have incorporated that skill in my playing style: My Direction in this thread is to ask trumpet players out there, how many of you use this skill and how do you apply it.
A general philosophy I try to instil into learners that I work with, I recommend not to practice until you get it right, but rather to practice until you cannot get it wrong.
Muscle memory takes devoted time and effort to continue the repetitive exercises on a daily basis. If the effort is put into a repetitive practice schedule, then in about 4 weeks, a goal will be achieved.
However, using Muscle Memory is best applied to securing repetitive phrases to add to performance skills.
To achieve accomplished overall performance skills, the 10,000 hour rule applies.
@georgeb said in A way to practice.:
Interesting. I'll give it a try.
George
Along with a few doses of Prevagen for people our age!
