Advice for a struggling trumpeter!

[Templejazz]

Hey folks, Bill here. I'd like to get some input from any longtime instrumentalists on the board, esp. brass and other wind players.

I've always loved playing the trumpet. When I reached 10th Grade I discovered Miles, Lee Morgan and Freddie Hubbard and I wanted to play more than anything. I majored in Music Ed/Jazz Studies (music ed. on insistence from my band director) when I got to college.

I was never the best player in the school of music, probably in the last tier of trumpeters. I always made progress but never had the confidence to step on a bandstand on open-mic night. Plus, I consistently struggled and allowed the trials and tribulations of everyday life interupt my development as a player (summer work schedule, girlfriend, classwork, etc.) Because of this there were many gaps in my playing and practicing schedule. So many to the point where I was never consistently growing as a player and constantly "catching up" to where I used to be.

Fast forward a few years to my fourth year in college (about 5 yrs ago) I began taking lessons with a fantastic player and teacher who really helped me get my act together. He helped me think about brass playing in a different way and I really started to make progress and for the first time really enjoy playing. By the time I got to my Improvisation II class I was ecstatic over my playing. I was transcribing and playing Lee Morgan and Blue Mitchell solos( a LOT of work still but WOW!!), playing fluently over Rhythm changes and nailing all kinds of etudes.....I aced my jury....but..... history of course repeated and I was faced with lack of self confidence and a 40 hour work week. I also bought some new equipment and had to break it in...NOT fun.

As I posted a few times before, I went through a bout of depression, drug addiction and struggle to find teaching employment. All of this did a number on my embouchure and it kills me inside that I used to be good. I long to play that way again, but I can barely make it through three or four Flow Studies without getting pissed off and saddened it sucks so bad. Plus I've acquired some self-defeating thoughts regarding certain physical facial characteristics and that maybe I will never be the player that I want to be because of them (slight crowding of lower teeth, moderate overbite)

Ok, 3 yrs out of college, 27 years old, I'm finally out of the shitty job I was complaining about last year, reasonably comfortable moneywise. I currently give narrated tours in Philly and I'm applying for other music and performing arts related jobs. Most importantly, I'm trying to make a new beginning on the horn, BUT ..it's fucking hell!!! ... and old habits die hard. I don't really have the time or money to get a teacher so for now I'm on my own.

Any actively performing board members have any input to make this long road a little bit easier to swallow? It's gonna be hard, I know, but perhaps somebody here has gone through something similar and could offer a bit of advice as to how to take it day by day.

Sorry for the long ass post but thank you in advance to anybody that has suggestions.

Bill

Edited July 14, 2005 by Templejazz

[Jim Alfredson]

Bill,

I hate to say it, but here's the short of it: Think about the players you admire. Lee Morgan. Miles. Freddie Hubbard. Why are they so good?

Sure, they have a lot of talent. But they also decided, somewhere along the line, that they were going to be musicians. And that's what they did. That's all they did. Night and day, day and night. Jazz is not a music one can just dabble in and expect results. You have to immerse yourself in it and do it.

I say this because when I entered college, I decided I was going to be "practical" and major in electrical engineering. I hated it. I joined every choir on campus. I joined the jazz combo program. I did as much music as possible (which is what I've been doing my whole life). In 1998 I finally realized that if I was going to get better and get to the place I wanted to be, then I had to just do music. I dropped out of college in 1999 and I haven't looked back.

I've been studying organ exclusively since 1996. It's taken this long to get to the point where I am comfortable in most situations, but I'm still not where I want to be (I hope I never get there... then what?)

You just gotta do it. If you really want to do it, you just have to do it. It's as simple as that.

[Jim Alfredson]

I'd like to add that I make my living as a musician and sometimes it's very hard. The bread is not very good most of the time and sometimes (like tonight) the gigs are horrible. But on the positive side, we're about to release our second record which I'm very proud of and we're still pushing and I love playing with Joe and Randy. And every now and again I make some money.

What more can one ask?

[7/4]

Yeah, you gotta get in, do the hard work, practice and play alot if you want your chops back.

Sometimes a teacher isn't the answer. Go back and work your way through the old material again.

[Joe G]

One of my best friends is an excellent drummer now living in the Bay area. Just today, he posted this essay on his website, mattguggemos.com. I think it's relevant to your post, Bill.

 

What's the value of playing music?

by Matthew Guggemos

I've often asked myself this question many times. At the age of 33--when some people are thinking about investing a portion of their yearly income, paying mortgages, and putting money into a 401k--I still play my drums everyday, which is something I've done since I was 14. Let's face it: playing music professionally doesn't often allow one to invest income, buy a house, or save for retirement very easily. In my case I've lost money playing music! Studying drums at a university, I've accrued thousands of dollars in school debt and spent countless hours practicing my instrument. (My wife and parents can woefully confirm this: I drove my parents crazy with my tapping, and my wife is currently being driven crazy.) But has this huge expense of time and money been worth it? Despite the hardship and frustration that sometimes accompanies learning and playing an instrument, I, like many other musicians, have gained something that defies any monetary value.

      Unlike material possessions whose value often diminishes over time (cars are a good example of this), the value of playing an instrument frequently increases as time passes. Think of it this way: As one spends more time playing an instrument, one's skill level on that instrument improves. This, in turn, allows a person to gain more control over the physical movements which are required to play it. And as a person gains facility on his instrument, fewer physical barriers exist that, in the past, have prevented his playing the music he has heard all along in his mind. Over time, mastering an instrument allows an individual to effortlessly express his (or her) ideas and feelings so that other people, too, may share the musician's ideas and feelings. Best of all, master musicians' work can be re-experienced, over and over again, through recordings. One would think, then, that music in the U.S would be something most people find to be extremely valuable--but this isn't necessarily the case.

    Cars, which have an increasingly important cultural role in the U.S., are one of the most beloved, valuable things in America. Without batting an eye, some people will pay 20, 30 or 40 thousand dollars on a vehicle, often taking out equity from their houses to pay for it. But why are automobiles so important to us Americans? In many ways, compared to the value of learning an instrument, a car seems like a trivial investment. Consider this: Cars have static capabilities; you get what you pay for. In other words, if I bought a cheap car, it doesn't matter how much time I spend in it--it'll still be a clunker. Sure, I could upgrade the stereo, the suspension, the wheels, and the exhaust, but this requires working a job, which is a separate activity altogether, to earn money so that I can pay for these improvements. Worst of all,  these improvements are temporary and will eventually break down within a few years. And if I offered to share this car--especially after it has 400,000 miles on it--it's likely that most people wouldn't see this as a highly valuable gesture, to say the least. Also, a car generally has a life expectancy of around 10 years; if you're lucky, perhaps you could squeeze 15 years out of it. But after this, most cars are worth very little. All said, it's interesting that an object, whose value and function deteriorates fairly rapidly, can entice people to spend so much time and energy to obtain it. Perhaps, it wouldn't hurt to redefine what we Americans perceive as valuable.

    I propose this brief, and in many ways in complete, definition of value: a gesture, action, product, or object whose appeal withstands the test of time. That is, regardless of when something was created, it can be appreciated by people in the past, the present, and the future. Further, creations which take a lot of time and thought to develop usually have the highest universal, or individual, worth. Obviously, many things can fall in this category; however, I'll stick to music.

    My favorite example of timeless value is John Coltrane's music. This man practiced all day long, everyday, for years. And it showed, too, in his progression from Miles Davis's band to the recordings he made near the end of his life. With Miles's band Coltrane began to experiment with unusual modal ideas; by the time that he had formed his own band with Elvin Jones, McCoy Tyner, and Jimmy Garrison, he had fully developed these ideas into a new form of musical language--one which people still use forty years later in contemporary jazz. All of that hard work has proven its worth. Even today, when pop music holds dominion over millions of peoples' musical collections, Coltrane is still revered by a huge number of fans around the world.

    Musical skill, however, isn't the only field that has this type of worth. Any skill or trade that deeply engages a person's heart and mind is priceless. Many authors, golfers, painters, sculptors, speech-pathologists, computer programmers, engineers, etc. experience the satisfaction of learning a skill, while striving to develop it toward perfection over time. The elusive goal of trying to achieve perfection, while knowing that it's not possible to attain it, can bring a sense of fulfillment that no paycheck or material object can provide. So, returning to the question at the beginning of this piece, is playing music lucrative? Well, not really. Is it valuable? Yes.

Edited July 14, 2005 by Joe G

[doubleM]

2 words: Carmine Caruso. I'd check out his brass calisthenics book for sure. There isn't anything in the trumpet ed. world that has helped me as much with my tone and breathing. It has helped me to get my embouchure together, too...which for me was problematic for years. Good luck. Oh yeah, whisper tones are also of great benefit. Play 30 second long tones just a little louder than a whisper, beginning at G in the staff and down chromatically to low f#.

[Michael Fitzgerald]

Strongly disagree about the Caruso. What I hear from proponents of his system are good but not great players. If my suspicions are correct, the original poster has some experience with the Vincent Cichowicz approach (mention of flow studies) - may I presume that "templejazz" means studying with Terrell Stafford at Temple Univ.? Terrell got his stuff from Bill Fielder, who got it straight from Cichowicz and Adolph Herseth, who are on an entirely different plane of trumpet from Caruso. If you have your wind together, any dental situation can be overcome because this trumpet concept is not about embouchure and muscles but about wind and song (a la Arnold Jacobs). If you're on that track already, going down the Caruso road will be counterproductive.

Think about what you were doing when you were studying with a teacher - you know what you have to do. Just do it. Don't expect it to happen tomorrow (or later this afternoon).

Mike

[Joe G]

One more thought: the more you can take your attention from both the long road ahead and the regrets of recent years, and place it on what you can do today, the better off you'll be. Each day brings with it the opportunity to go a little deeper into your practice, to be a little more present, relaxed, and appreciative. We all make mistakes, and go through up and down cycles, so don't beat yourself up anymore.

[The Pillar of Flame]

Hi Bill:

I'd just like to encourage you to play--even if it kills you. Being an excellent musician is a process, which can often be painful because it takes forever to become good. I suggest this: forget about how you used to play and focus on how you play now. In other words, figure out what you need to do to gain control over your instrument and take action to make it happen.

Here's something else that you may want to consider. It's possible that you have a treatable physiological problem that interferes with your performing. Performance anxiety can really drain a person's confidence, but there is something that can be done about it--if it's really extreme. Many musicians take a medication called propranolol, which is a beta blocker, to ameliorate the sweaty palms, racing heart beat, and rapid breathing that can be brought on during a live performance. Perhaps you could check in with a doctor about this.

I'm rooting for you, man.

--Matt

Edited July 15, 2005 by The Pillar of Flame

[Jim Alfredson]

Good advice all around in this thread. It is also very helpful to surround yourself with people who support your goals, whatever they may be. I am lucky to have found a wife who supports my decision to play music full-time and also lucky that we are able to make a living and support our daughter doing so. But just being around creative people who take music seriously will help.

[AllenLowe]

I would add a few things, which I hope are relevant and which you probably already know - work within your lmitations, don't necessarily compare yourself to other musicians - find what you do best and than do it. Doesn't necessarily have to be great technique or high notes or speed, but EXPRESSION- and than m, document your playing when you are ready -

[Trumpet Guy]

I feel you Templejazz! I'm a pro player now, but I was in a similar situation when I was your age or a bit younger. First of all, the trumpet is a bitch! The life sentence Everyday is different and can be a challenge to your patience.

My situation was similar to yours. In high school I was playing the trumpet very well(at least I thought)--The beauty was that I was playing all the time--morning,noon and night. After I graduated, I wasn't playing nearly as much; changed my entire concept(bought an old Martin committee) and found my range and comfort go right out the window. Now Allen's advice is sage---you can make music,but damn if it isn't frustrating if you don't have the technique to play how you feel you wanna...Anyhoo--my downhill progression in my technique continued for years--So first it was loosing that "knack" I had in high school;searching for it--trying too hard...getting pissed off! Threatening to drop it and play soprano sax

So to cut to the chase--what eventually helped was getting myself on a daily routine.You know a blend of things to do to become a more complete trumpet player. Finding the right routine FOR YOU is key. I'm officially weary of teachers that say do this and you'll play great...Its so personal--each player is generally different. There is NO right way. But the act of doing some thing the same way everyday--helped me find and learn about consistency and growth.

Trumpet for me is a bit of a knack. For me--it was important to build things up, rather than just say practice hard for 3 hours---try instead to play and rest equal amounts.You know play for 3 minutes-rest for 5 minutes.But you are trying to get that feeling or knack that feels good and then attempt to sustain that feeling. Some great players will practice until it feels good and then will put it away. Pick it up the next day and attempt to start from there.Not always likely,but you'll find ways, through your routine, that will help you get into that "comfort zone" quicker;yet somedays it just isn't there. Oh well!

Try to keep a sense of humor as difficult as that can be... But really, I believe, a lot of emphasis is placed on embouchure, lips, etc.;but I think the problems stem from a lack of the most important thing. Learning how to breathe relaxed and efficiently. This too takes practice and is the first thing we forget as we play and stress out. Focus on a good relaxed breath--not huge, just full---Many things will come together for you if you can deal with that essential element.

Lots o' good advice--soft long tones(not Caruso for me)--but basically you are building--Play an effortless "G" in the staff--not effortless? Try again! Got the effortless G?Yeah! Then expand--play G to A keeping the same effortless feeling.And so-on... When its bad,stop and rest. You're looking for the feeling of ease--patience and keep working every day. It will get better eventually.Focus on the feeling and not the "goal" notes--ease IS the goal. Keep your head out of it though. Remember some of the best technical trumpets are pretty dumb

I think that helps

I do feel you Templejazz! I know that pain and frustration. You might be able to use all these feelings when you feel good again and start telling YOUR stories on Rhythm Changes!

All the best--Phil

[Templejazz]

Thanks for the words and advice guys. It does help and I know I'll get that feel back. I need to break it up into small goals like I used to but first focus on playing MUSIC! Then I can nit pick and iron out the wrinkles (attacks, flow, etc.)

Joe, I printed out that essay to read when I get home later, thanks.

Michael, you're spot on. I studied with Terell for 3 yrs at Temple. The last year I studied with him was when all the "flow" stuff had begun to come together to the point where I didn't have to think about what my tongue/teeth/lips/etc. were doing.. all that mattered was that my corners were firm and the wind was there. I just couldn't keep that going for the long term sadly...

Time to do some Clarke.........