Use the chromatic study as your warm up or part of your warm up. you do not need to warm up for very long if you do the right warm ups. But as you no everyone is different. Thanks
HI Ralph , thanks for the new video. Can you describe what gives you pitch change? Is it aperture size change or air speed or tongue position? I understand that Caruso is training muscles to react but apart from getting muscles to do what they should I have not been able to see how Caruso wanted to get pitch to change. I have read he says use what ever pressure you need but would like to use the most appropriate movement for pitch change. At the moment I think I use a combination of jaw position and aperture size change to achieve pitch change. What I have most limitation on is lip flexibility exercises. Great to hear you again.
What a great question. One day I will do a video on this subject. For now I am going to give you a rather long answer. The problem comes in because obviously people are not taking lessons with him. People half to learn his basic embouchure building exercises that are well known and taught correctly by many people. when you took lessons from him he would evaluate and recommend various books. (I will name a few of these books in shortly). As far as getting pitch to change Caruso new all the different ways trumpet players used to play higher. He did not talk about it much and for good reason. Many professional players would come to him having developed severe playing problems. He would talk to them for basically the whole lesson and would listen to the player tell him how they were trying to fix their problem by doing many different things. For example they would say i tried tightening my corners. I tried relaxing my corners. I tried raising the back of my tongue in the upper register. I tried making a smaller aperture in the upper register. I tried opening my jaw for the low notes and so on and so on about every possible thing that a trumpeter can do. At the end of the lesson Carmine would give them one of his simple exercises designed for getting the chops playing correctly. He would tell the player now just do it the very simple way I told you and most of all do not think just let the adjustments take place on their own. and in a week or two you will be back playing great again. It worked every time. I use to talk to him about all the various methods of playing high notes and lip flexibility. He believed that it is great to have the knowledge of what is going on with your body while playing the trumpet. He believed that being obsessed with the mechanics of the embouchure and body can become a major problem for the student as well as the professional player. His students progressed rapidly with his exercises cause he encouraged them to play the way they play naturally without the thought of manipulation. Don't get me wrong he did give me simple instructions on breathing and using the air. That leads me to the next thing that are some of the books he would teach out of for flexibility and embouchure. He would tell me to read what they wrote in the book to get an understanding of what was going on with the body while playing. He said read and learn and use the knowledge as a tool but don't get obsessed with it. He said you will feel what they are teaching comes naturally when practicing Caruso's exercises. Caruso had a Great exercise for lip Flexibility. The name of the three exercises were spider webs down. spider webs up. the two combined were just called spiderwebs. You do these at various speeds. If you would like to see the spider web exercises go to my video Ralph Davella Spider webs for improving range and flexibility. Finally here is a list of some of the books he taught out of and that he thought the text was worth reading in no particular order. Charles Colin Advanced Lip Flexibilities, Lip Flexibility on the trumpet by Walter M. Smith, Max Schlossberg Dailey Drills and Technical Studies for the Trumpet, and of coarse The Clarke Book. These books are an important balance to his teachings. Sincerely Ralph Davella
@@ralphdavella554 HI Ralph , thank you for the reply I enjoyed reading your words just like I enjoy hearing you play. I guess what comes naturally for me stops around G above the stave. After that nothing feels natural and notes stop speaking. I will add the spiderwebs to my practice routine which at the moment consists of the 6 notes then F# to F# warmup then intervals (various each day) as SLS and LSL and chromatics.
Wayne, I'm coming back to Caruso after a long time off. Long ago, the Caruso studies helped me improve and then I went downhill and gave the studies up. Reflecting back, I realized I was over analyzing the studies and trying to do everything possible to make the Caruso exercises sound musical. That was my downfall. Just count and blow. Whatever comes out of the horn is what it is for that day. The next day it might sound different -- body is always is in a flux. The exercises teaches your body to react in the best way it can. Carmine told me doing his exercises will make you ready for any playing situation. I have fun now doing the exercises because to me they are calisthenics and NOT music. I practice music in another practice session and it's getting better because of my exposure to the Carmine Caruso calisthenics. Keep playing, Frank
Hi Ralph When is the best time to do the Caruso 6 Notes? and do you recommend doing them several times during the day? Thanks for your videos you do a great service to the trumpet community. Jerry
Hello Gerald. You can do them everyday as a warm up. then rest a few minutes before moving on to whatever else you are playing. Pick a day or two during the week to play the six notes three to five times in one day. Limit the amount of high note exercises you play that day. The six note if done correctly will give you all the embouchure workout you need in that regard.
Sometimes you half to give your lips a break from playing high notes. On these days play the six notes multiple times. You will be giving the facial muscles quite a workout without hurting the lips.
Thanks a lot, Ralph. I really enjoy your lessons. You,ve got some amazing chops. Bravo!!!
Use the chromatic study as your warm up or part of your warm up. you do not need to warm up for very long if you do the right warm ups. But as you no everyone is different. Thanks
Thx for the new video...great warm up
Thanks for watching. Use this as part of your warm up or all of it. Let it fit into how you warm up.
What a nice clean sound!
Thank you for the encouragement.
HI Ralph , thanks for the new video. Can you describe what gives you pitch change? Is it aperture size change or air speed or tongue position? I understand that Caruso is training muscles to react but apart from getting muscles to do what they should I have not been able to see how Caruso wanted to get pitch to change. I have read he says use what ever pressure you need but would like to use the most appropriate movement for pitch change. At the moment I think I use a combination of jaw position and aperture size change to achieve pitch change. What I have most limitation on is lip flexibility exercises. Great to hear you again.
What a great question. One day I will do a video on this subject. For now I am going to give you a rather long answer.
The problem comes in because obviously people are not taking lessons with him. People half to learn his basic embouchure building exercises that are well known and taught correctly by many people. when you took lessons from him he would evaluate and recommend various books.
(I will name a few of these books in shortly).
As far as getting pitch to change Caruso new all the different ways trumpet players used to play higher. He did not talk about it much and for good reason. Many professional players would come to him having developed severe playing problems. He would talk to them for basically the whole lesson and would listen to the player tell him how they were trying to fix their problem by doing many different things. For example they would say i tried tightening my corners. I tried relaxing my corners. I tried raising the back of my tongue in the upper register. I tried making a smaller aperture in the upper register. I tried opening my jaw for the low notes and so on and so on about every possible thing that a trumpeter can do.
At the end of the lesson Carmine would give them one of his simple exercises designed for getting the chops playing correctly. He would tell the player now just do it the very simple way I told you and most of all do not think just let the adjustments take place on their own. and in a week or two you will be back playing great again.
It worked every time.
I use to talk to him about all the various methods of playing high notes and lip flexibility.
He believed that it is great to have the knowledge of what is going on with your body while playing the trumpet. He believed that being obsessed with the mechanics of the embouchure and body can become a major problem for the student as well as the professional player. His students progressed rapidly with his exercises cause he encouraged them to play the way they play naturally without the thought of manipulation.
Don't get me wrong he did give me simple instructions on breathing and using the air. That leads me to the next thing that are some of the books he would teach out of for flexibility and embouchure. He would tell me to read what they wrote in the book to get an understanding of what was going on with the body while playing. He said read and learn and use the knowledge as a tool but don't get obsessed with it. He said you will feel what they are teaching comes naturally when practicing Caruso's exercises.
Caruso had a Great exercise for lip Flexibility.
The name of the three exercises were spider webs down. spider webs up. the two combined were just called spiderwebs. You do these at various speeds. If you would like to see the spider web exercises go to my video Ralph Davella
Spider webs for improving range and flexibility.
Finally here is a list of some of the books he taught out of and that he thought the text was worth reading in no particular order. Charles Colin Advanced Lip Flexibilities, Lip Flexibility on the trumpet by Walter M. Smith, Max Schlossberg Dailey Drills and Technical Studies for the Trumpet, and of coarse The Clarke Book. These books are an important balance to his teachings.
Sincerely Ralph Davella
@@ralphdavella554 HI Ralph , thank you for the reply I enjoyed reading your words just like I enjoy hearing you play. I guess what comes naturally for me stops around G above the stave. After that nothing feels natural and notes stop speaking. I will add the spiderwebs to my practice routine which at the moment consists of the 6 notes then F# to F# warmup then intervals (various each day) as SLS and LSL and chromatics.
Wayne, I'm coming back to Caruso after a long time off. Long ago, the Caruso studies helped me improve and then I went downhill and gave the studies up. Reflecting back, I realized I was over analyzing the studies and trying to do everything possible to make the Caruso exercises sound musical. That was my downfall. Just count and blow. Whatever comes out of the horn is what it is for that day. The next day it might sound different -- body is always is in a flux. The exercises teaches your body to react in the best way it can. Carmine told me doing his exercises will make you ready for any playing situation. I have fun now doing the exercises because to me they are calisthenics and NOT music. I practice music in another practice session and it's getting better because of my exposure to the Carmine Caruso calisthenics. Keep playing, Frank
Hi Ralph When is the best time to do the Caruso 6 Notes? and do you recommend doing them several times during the day? Thanks for your videos you do a great service to the trumpet community. Jerry
Hello Gerald. You can do them everyday as a warm up. then rest a few minutes before moving on to whatever else you are playing. Pick a day or two during the week to play the six notes three to five times in one day.
Limit the amount of high note exercises you play that day. The six note if done correctly will give you all the embouchure workout you need in that regard.
Sometimes you half to give your lips a break from playing high notes. On these days play the six notes multiple times. You will be giving the facial muscles quite a workout without hurting the lips.