Bud Herseth Notes, hitp//[Link]/tuba/Notes/Herseth_notes:ht Practice various ways of articulating everything (excerpts, music, ete, tongue Scholssburg #18, etc.) slur Petroushka solo, Get the sound you want in your head first, then play it. Listen as much as possible. Send message when you play. The only mechanics to think of whole playing -- breathing and ail rests as music. Play by sound not by feel. Never work harder than necessary. (for desired result) Do interval exercises (alt articulations.) Accent is not more tongue, but more air. For etude practice, get them clear siowly, then speed them up. Say with tongue for fast and nice sounding tonguing; this keeps it out of the way or it will hinder sound, It aso keeps double and triple tonguing faster and more even. Do lip trlls ONLY for strong and dependable high range. You never really know how much Doc and Bud hurt when they play; just play beautifully and forget how it feels. Don't only try for musicality and precision in performance; try all the time as in performance. REMEMBER, NEVER PRACTICE, ALWAYS PERFORM. Livel! Play and show you're alive and have something to say to the audience. The horn is just a microphone of yourself; show them how you feel. Don't overblow, easy. You'll play better if you don't actually blow so hard and concentrate on the actual volume of air for a BIG SOUND., Bud Herseth Notes. bhtp//[Link]/tuba/Notes/Herseth_notes.hin Dont think you have problems, fo worry about in your playing, just think certaln espects of your playing aren't perfect yet. Don't worry about anything in your playing, Enjoy itl! ~ Mouthpiece Practice Practice on the mouthpiece everyday before your regular session. Walk around and play anything musical (no drills!!) from excerpts to pop tunes. Concentrate on being very musical on these pieces and most important, on-a very LARGE SOUND on the mouthpiece. The mouthpiece, because of lack of divisions, tis possibie to go all overall ranges and forces you to use your ear, Also, in emergency situations, mouthpiece practice can substitute for Tegular practice on the horn. Play a complete session on the mouthpiece once in a while. This keeps you from getting hang-ups about the horn and improves everything from sound to articulation. Whenever you are having problems with any piece, play it on the mouthpiece to get rid of the hang-ups and other problems Play no drilis on the mouthpiece, all music. REMEMBER, BIG SOUND ALL THE TIME High C is not sharp, its high C. No notes are naturally sharp, just play and use the ear and listen for the best sound and you will be in tune. It is very important that you think sound and not intonation, the intonation will be there if the sound is. Itis important to hear the note to be played before playing it; you do, it will be there. On high range, don't just think *high" before you play and expect be able to play it on releases, know How long you want to hold the note and then stop it-don't just hold it until it stops. On soft playing, play soft as if you're playing loud, flow air same as forts. as the whole phrase before you start to play-- do this ail the time, practice performance, etc. Every note must have direction - always must be going somewhere. Practice a tune in all registers. Do this often, it will tell whether you are using the right concepts-not thinking about how it feels, musically, sound, etc, Balance exercises with solos (music). Practice a session on just the mouthpiece. Tonguing has to be 8% consonant (T) and 95% vowel (sound) Too much tongue inhibits air flow. Use no more tongue than in normal speech, and release air immediately. BIG SOUND ALWAYS-loud or soft. Never practice--always perform. 19107198 [Link]Bud Herseth Notes hap//199.74.103.214huba/Notes/Herseth_notes.hr Project a message when you play, never impress with just mere mechanics Put words to everything, (Stravinsky-Song of a Nightengale:"fight for your life fight.") Think only what is sounds like, not what it feels like, Practice solos more than drills and exercises for tonguing; every time Bud leams a new solo (or rehearses one) he gets better, itadds a spark to his playing. Vocalize through the horn; get message across to people- tell them a story, an interesting one, Remember, things | do now will become consistent later as | keep applying concepts. Pulse the primary point - it keeps musie moving and makes over all sound more musical. Practice all three styles of tongue; only use legato for extreme double and triple to make this tonguing move very fast. Slur all technical passages first so you get tunes in mind Do some as above with staccato passages also. {nal technical and lyrical passages, remember that first and foremost is tone quality and musicality. ‘When playing slowly, remember that tongue and fingers still have to move as fast as usual. Everybody comes in late after rests, do something about it Keep dynamics through phrase -- Keep dynamics consistent, Keep slurs smooth; don't jolt them- they're easy. High range is not a separate part of trumpet playing, yet most players make such a big thing ‘out of it. It is not any more physical than any other aspect of trumpet playing-rather it should be just as musical. Just move the air more and keep a good sound, and it will always be there Melodic playing Is very important. Know importance of tone. (even in technical passages) When you get high horns, play tune on them, then take low horn and-play some pitches the same way. You will forget which horn is which. Relate little horns to the low horns, all concepts fit. Play back and forth some licks. When you make a mistake, be proud of them. Put your horn down and stare at the conductor. Unless his ear is great, he won't know. If he does, fine. Never practice, perform. Don't just listen to yourself in ensemble playing -- let the ensemble help you on your entrances 80 you can be part of it and not playing along with it. All accompaniments will help you to play them in your head so you don't have to just play out of context. Listen to good artists; know what they want. A trumpet players life is risky and he has to be able to take the risks-no great playing is accomplished if he is afraid of playing. To be timid or favor notes or ranges is running away from the risk,Bud Herseth Notes, ‘hupu/199.74,103.2 ituba/Notes/Herseth_notes.hin Always, after hearing someone play something say "I can do it better, or if not better, different." Whenever you have technical difficulty, think of the passage more musically, that's what is wrong. The reason Herseth is better than you is not because he tries harder, but he thinks musically -- it's amazing what the chaos can do when you get the head out of the way! Don't ever warm up for a performance; always go on a bit under warmed up. Just warm-up as low and high as the piece will go. That's all, then quit, On any orchestral excerpt, study the scores and listen to records. Remember that Bud really believes in listening as a teaching guide to good playing, Never play any isolated notes in orchestra. Always be aware of the color that you add and know your role. Know what is important. Remember that there are different interpretations (important). Don't just go by one recording. Always be HEARD - no matter what dynamics. When studying scores, know how its to sound and don't change unless he forces you to. Don't wait to be told. if he isn't taking your tempo, change it There are appropriate times for beauty and crudeness; use both. For your own personal satisfaction, DO THE BEST JOB THAT CAN BE DONE. Itis not a question of being better than anyone else: How can you love trying to be better than anyone else. Play for your own satisfaction and for other's appreciation If couldn't play this thing as well as | could be played, ! wouldn't play it. Don't think of auditioning for something (a job, etc.) or against someone, just offer what music you have to offer. If they like it, fine ; if not, fine too; go somewhere else. Just make music and enjoy yourself. If you do get excited, apply it to music and not to the situation. Your goal should be to play as well as Bud, not to have such and such a job. Be anxious to play, not afraid to play. Sound is criterion for how you play and whether you're doing things right. Practice Session and All Playing ‘After working on the mouthpiece, do the same on the horn. Play everything from excerpts to pop tunes on it to do things musically. Remember you are performing these pieces and not practicing them. NEVER PRACTICE, ALWAYS PERFORM. ‘When encountering problems, musically or technically, sing them and play them on the mouthpiece. Then transfer this singing through the horn. When a person sings, he naturally does it in a musical way. Always take 10 or so minutes off after the first 18- 20 minutes of practice (warm-up.) Rest like Bud, feel fresh all the time. inn 7ian 09:44Bud Herseth Notes ‘utp [Link]/tubaNotestHerseth_notes hes When taking a breath, pronounce the word "HO" yet inhale at the same time. When using this method for practice, put hand on stomach and chest-it should move out on its own due to the diaphragm filling up. For getting the feeling of an absolutely open airway and flow, put one end of a toilet roll in ‘mouth and inhale, notice the equal ease of both intake and exhaling. Breathe from low in the lungs rather than from the chest. If done correctly, the stomach will go ‘out on its own. To geta big sound, itis imperative that air flow (or movement) has to be greater. The pressure of air flow is not what creates the big sound -- itis much the same as the Violin, which creates a bigger sound when the bow is moved faster. Release air immediately, don't hold it in Equipment Care and Information. Difference between cornet and trumpet: There is no difference between the two due to modern methods of construction. Mostly sound difference is the bends in the tubing. (Conical vs. Cylindrical is not a factor anymore.) Stravinsky pieces; cornet vs. trumpet2. Seiad and Monteaux -- world premieres of many Stravinsky pieces both said that they need not be used (comets) because of little difference between them. Keep hom free from any dirt inside; clean weekly if necessary. Clean mouthpiece daily. Clean horns and mouthpieces so nothing is ever in the horn. French horn placement is more with bell in front in small ensemble. Pedal Tones To have good high range and good all around range you have to have good pedal tones. This is due to more and better vibrations producing more harmonics and richer sound. Slur pedal tone from octave; finger according to chart below: C*0 B*0 Bb*0 A‘2 Ab*1 G*12 FH#°23 F413 Eb“123 Play pedal tones on both the Bb and C horns (harder on the Bb) Slur and tongue down from normal notes an octave to pedal, so you have an in tune note to relate it to. Don't overblow the air, just blow to get the best sound. Do the version of Carnival of Venice starting on pedal "C". Performance, Auditions, and Overall Concepts of Playing Trumpet B-"IsD5d rather JUMP in and make mistakes than be timid.” Essence of Bud's lessons is he builds attitude and ego and musicianship. He lets technical things work themselves out. Have the attitude of "I can play anything." this confidence is needed for excellent trumpet playing.‘Bud Herseth Notes hetp://[Link]/tubanNotes/Herseth_notes him These are notes a student of Herseth's took from his lessons with Adolph “Bud” Herseth, THE PRACTICE SESSION PRACTICE long tones in all registers and volumes. Overlap single tonguing speed with double and triple tonguing speeds. Solfege ~Sight sing-buzz excerpts and studies. There are appropriate times for beauty and crudeness, use both. B."Sound is criterion for how you do this or that.” B-"Melodic playing is very, very important. Know importance of tone. (Even in technical passages) Play tunes in high range, also pick off high notes for practice. Remember shaky high range can be due to letting up before hitting the note~rather take the jump and blow, that is the only way to be great. Ifyou let up on all the notes, endurance is lost and overall sound is sickening. Be consistent and NEVER PRACTICE, ALWAYS PERFORM. Never have any tension in the body when playing, just learn to always relax. Don't favor slurs, and in fact, DON'T FAVOR ANY NOTES. B-"Only practice in 45 minute sessions, that is what Bud dees.” - There is nothing wrong with your chops, your mind is messing them up. High register is no more physical than low, it should be just as easy and sound as good. Don't make such an issue out of it. This habit must be worked out and will eventually go away, however there is only one way to get rd of tis bad habit and that is to apply concepts every day in your playing. Play arpeggios to get all ranges to solnd good by being in tune and listening to the sound, Play Bud's exercises; like singers do. Don't think mechanics at all on the high range, just play and listen. When a note sounds beautiful, itis in tune ( and vice versa) ‘Approach on the lines of good sound and intonation will come there too. The ear will do all the work if you fet it. Say Te on lower register to get away from the tubby sound Increase air on lower register, D and B are examples of good low range sound. D, Eb, and E — let them float up to where they belong. Don't think, just play beautifully. Your ear will tell you, and do all the work for you if you allow it to. Don't try to place notes, but let them go where they want.