Beruflich Dokumente
Kultur Dokumente
T ECTHTNllQUES
FOR DEVELOPING ARTICULATION AND FAST FINGEBS
by J0HN McNEIL
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RUIMPET
EClHlNlt QUES
FOR DEVELOPING ARTICUTATION AND FAST FINGERS
by JOHN McNEIL
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TOI^¡ARD PRXCTSION VALlru 1ECHNIQUE
If all this sounds very sirnple and baslc, thatrs because it is.
Itrs also important. Not getting the valves dovin firrnly results
in garbled, run-together-sounding lines, especlally when you try
to move rapidly,
I haye heard too many trumpet players play very fast but fall to
generate intenslty, sirnply because nothlng came out clean1y. For
this reason, itrs a good idea to periodically back up and reafflrrn
some baslc concepts of finger technlque.
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I have talked with some exeellent trumpet players who donft thlnk
of playing the above way at all, and wonder why anyone would, Irm
the last one to argue with success. If somethlng works for you,
use 1t.
Slow valve releases are another thlng that can really hlnder you.
Remember: getting the varves gp quickly and positlvety is Just
as irnportant as getting them down. Sometimes swltchlng your con-
centration from snapping down the valves to releasing them quickly
will help clear up a flngeri_ng probtem.
Poor coordination 1n releasing the valves results in "extra notes. "
For example, when playing this,
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SOME I,fAYS TO PRACTTCE
Fol}owing are some more concepts whieh you ralght find useful.
IO
I¡lhen you are practiclng this to lj-sten closely to
w&Vr be sure
the valves. If your coordlnation is perfect, there should be one
short click for every valve change. More than one cllck means
your valves arentt moving preclsely together.
11
A to flnd out exactly where the problems are and comect
?,¡ay them
It may very v¡ell be that one way of playing the phrase is more
difflcult than the other. Repeated practice of both ways will
iron out a problem quickly. You might also try:
L2
Practlcing this will help coordinate your tongue with your
way
flngers, and, more i-mportant1y, speed up your reactions. To im-
provise at fast tempos, you need the qulckest reactlons you can
get.
You should also check to see that the holes in each piston line uP
precisely vlith the tubing t'¡hen the valve is depressed. If theY
dontt line üp: youtll need to add some fett rings, obtaÍ-nable at
any instrument repair shop. New felt often eliminates valve noise
as well. Using stiffer springs vril-I compress the felt sooner, so
therets another reason to check the valves out periodically.
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14
ALT]ERNA]5 FINGERINGS
Instead of playlng the flrst three notes open, try fingerlng the
ItErr v¡ith the thtrd valve. The rrArr can also be flngered wlth the
Knowing your alternate fingerings can also help smooth out awkward
passages:
If you finger the low trgrr and all the "Ets" with the thlrd valve,
this passage becomes very easy.
15
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ARTT'ITLATT.N
i'' 'i "'" '* attacks
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I define artlculation as the combination of slurs and
used ln playing a line. Articulation is a very personal thing;
no two players approach it the same v¡ay. Together uith sound,
articulation gives individuality to a player, and is influenced
by the plaYerts PersonalitY.
I8
a jazz trumpet 1ine. To see what f mean, try fi.rst slurrlng over
the following passage, and then artlculate 1t as sholrln.
áÉ{t***tetF*
lng" on the air stream. you should feer as though the tongue
never really stops the air, but slmply makes a dent ln lt. If you
use too much tongue motlon and too strong an attack, youtll never
get it fast enough.
This exercise over-compensates for eighth notes that are too even
and unswj-nglng. Make as big a contrast as Possi-ble between the
accented and unaccented notes, but ke.ep the s-ound going throughout.
20
The unaccented notes are on the beatr so donrt get it turned
around. The aecents shourd be very, very 10ud. The voh¡me comes
from more air, however, not nrore tongue. Start thls exercise very
srow, mentarry subdividing each beat into triplets. rn tlme, this
way of accenting a line w1Ir carry over into your lmprovlsing.
+F tt )F )e te )e .,É ,E
ceived pattern of srurs and attacks. The rines. you pray take dlf_
ferent turns, unexDected reaps, etc., and you are constantry put
into new situations.. rt is necessary, therefore, to be able to
articulate in any way at any time v¡ithout hesitation. The follow-
ing is an exerci-se to herp you achleve this end.
Take any scare, in this case c major, and play it up to the nlnth
and baclc dolr¡n.
Not¡ articulate only the Crs and slur the rest. Then arttculate
only the Dt s, and so on. youtve gone through al1 seven tones,
I,,hen
start combining them, articulating every C and E, every D and G,
every E and A, and so on.
2L
Nextr go by number instead of by note: tongue every third note,
every fifth note, etc. Then use combinatlons like tonguing every
third note, every other note, every thlrd, every other, sometlmes
yout 1I have to run the seale up and dorr¡n a dozen tj-mes before the
pattern compretes itself and starts over. Begin slowry, as in
everythlng e1se, but work for speed.
22
DOT'BI,E TONGUING
Doubre (or tripte) tongu:lng seems rlke itrs rarery used rn Jazz
trumpet pLaylng. The reason courd be fear of soundlng rlke a
bugler or something, or perhaps Just that thls artlculatlon was
never developed. trdhatever the reason, it seems a shame to lg-
nore something so potentially useful.
23
Intervals wider than a third are difficult to double tongue
cleanly, especially in the high register, but practice brings aII
things to pass eventually.
24
DU.DTIL TONfirlNG
The nane most often associated with du-dul tonguing is Clark Terry.
Listening to Clark wj_ll give you an idea of the facllity it is pos-
sible to aehieve with this articulation.
Practice on a single tone at flrst. Getting a good sound out
the "-dul" harf of the motion mlght be a problern at first.
I'Jhen you get both halves of the du-dul tongue pretty much equallzed,
go on to scalar exercises.
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YourIl notice I have written the ghosted note as a "G. " Actual-ly,
there is no deflnlte pltch for it. Dontt change flngerings for
the ghosted notes, but sfunply finger thls passage as though you
were playlng a serles of quarter notes.
26
IüTDE INTERI¡ALS
There t s
nothing t{rong with this line; it has an interestlng
shape
and sounds very good. Thre polnt is, you rarely
hear trumpet
players ptay a llne such as the one below, except
possibly at a
slow tempo.
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ST'MMARY
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APPENDIX
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31
DISCOGRAPHY
NAT ADDERLEY
Introducing Nat Adderlev TLP 5564
The Scavenger MSP 9016
(Any Cannonball Adderley Quintet album)
CHET BAKER
Gerry Mulligan-Chet Baker, Carnegie Hall Concert Vol. 1 CTI 6054 SI
Vol. 2 CTI 6055 SI
She Was Too Good To Me CTI 6050 SI
(Numerous albums from the 1950's when available)
LESTER BOWTE
Art Ensemble of Chicago, Message to Our Folks BYG 529.328
RANDY BRECKER
Horace Silver, tr Pursuit of the 27th Man BN.IAO54-5
Horace Silver, You Gotta Take a Little Love BST-84309
Hal Galper, The Guerilla Band Mainstream 337
CLIFFORD BROWN
Art Blakey, A Night at Birdland Vol. 1 BST 81521
YoI. 2 BST 81522
Brownie Eyes BN.I,A267-G
Clifford Brown in Paris Prestige 24020
The tsest of Max Eoach and Clifford Brown GNP 518
in Concert
Clifford with Strings TLP 5502
At Basin Street TLP 551r.
Brown & Roach Inc. TLP 5520
Study in Brown TLP 5530
Jordu TLP 5540
The Beginning and the End KC 32284
DONALD BYRD
Off to the Races Blue Note 4007
The Catwalk Blue Note ST 84075
JOHNNY COI,ES
Little Johnny C. BST 84144
Herbie Hancock, The Prisoner BST 84321
DON CHERRY
Ornette Coleman, Something Else Contemporary M 3551
Ornette Coleman, Ornette Atlantic 1378
Ornette Coleman, Change of the Century sD-1327
32
MILES DAVE
Jazz at the Plaza Columbia 32470
My tr\¡nny Valentine Columbia 9106
Milestones Columbia 9428
Seven Steps to Heaven Columbia CS 8851
Miles Davis Prestige 24001
ESP cL 2350
Miles Smiles cs 9401
KENNY DURHAM
Art Blakey, The Jazz Messengers at the Cafe Vol. 1 BST 81507
Bohemia Vol. 2 BST 81508
John Coltrane, Coltrane Time Solid State 18025
Blue Note 1524
Tmmpeta Toccata Blue Note 84181
Whistle Stop Blue Note 84063
ART FARMER
Homecoming MRL 332
Modern Art UAL 4OO7
DTZZY GILI,ESPIE
Jazz at Massey Hall Fantasy 6003
The Best of Dizzy Gillespie LPM-2398
Dizzy on the Riviera PHS 600-048
The Sonny Rollins-Stitt Sessions vI'-2-2505
(Any reissue with Dizzy and Charlie parker)
WILBUR HARDEN
John Coltrane-Wilbur Harden, Countdown SJL 2203
EDDIE HENDERSON
Norman Connors, Dark of Light csT 9035
Norman Connors, Dance of Magic CST 9024
Realization cP 0118
Sunburst Blue Note LA 464-G
FREDDTE }IUBBARD
Art Blakey, Free for All BST 84170
Art Blakey, Caravan Riverside 9438
Ready for Freddie BST 84085
Herbie Hancock, tVlaiden Voyage BST 84195
Herbie Hancock, Empyrean Isles BST 84175
Red Clay cTr 6001
Straight Life CTI 6007
33
THAD JONES
Thelonious Monk, 5 by Monk by 5 RLP 1150
The Magnificent Thad Jones Blue Note 1527
Detroit-New York Junction Blue Note 1513
BOOKER LTTTLE
Booker Little 4 + Max Roach uA 4034
Out Front Candid 9027
E ric Dolphy/Booker Little Memorial Album Prestige 7334
Eric Dolphy, Far Cry New Jazz 8270
CIruCK MANGIONE
Alive sRM-1-650
I¿nd of Make-Believe sRM-1-684
BLUE MITCHELL
Graffiti Blues MRL-4OO
Heads Up BST-84272
Blue Mitchell MRL-315
Horace Silver, Silverts Serenade BST-84131
LEE MORGAN
Art Blakey, Moaninr BST-84003
The Cooker BST-81575
The Sidewinder BST-84163
Cornbread B,ST-84222
Live at the Lighthouse BST-89906
Memorial Album BN-t^4224-G
Lee Morgan BST-84901
FATS NAVARRO
Good Bait RS 3019
Boppinr a Riff BYG-529102
WOODY SHAW
Larry Young, Unitv BST 84221
Horace Silver, Cape Verdean Blues BST 84220
Art Blakey, Childrs Dance Prestige 10047
Love Dance MR 5074
IRA SULLTVAN
Horizons Atlantic SD 1476
CLARK TERRY
Swahili TLP 5528
Oscar Peterson Trio Plus One Mercury 60975
Gingerbread Men Mainstream 373
Tonight Mainstream 6043
CIIARLES TOLLIVER
Charles Tolliver's AJI Stars Polydor 2460139
Live at Slugts ' sEs 1972
Jackie McClean, Action BST 84218
34