|Connecting the Trumpet World
with Artist Interviews, Instructional Advice,
Learn, Watch and Share
Join Our Email List
What We Like
New Trumpet Method Book
FOUNDATIONAL METHOD for TRUMPET
A method for the development and maintance
of advanced trumpet skills by Jay Rizzetto
This new trumpet book by a master teacher has received high acclaim from many notable players and teachers. check it out at: www.pasquina.com
Willam Forman Interview
|WILLIAM FORMAN / Contemporary American Brass in Berlin
Interview by Paul Brody
WILLIAM FORMAN is one of the most important trumpet players in contemporary classical music today.
He had been a member of Ensemble Modern for over ten years and has worked closely with such composers as Karlheinz Stockhausen and Luciano Berio, Frank Zappa, and György Ligeti.
Voisin moved to the United States as a child when his father, René Voisin (1893-1952), was brought to the Boston Symphony as fourth trumpet by Sergei Koussevitzky in 1928. He was initially a student of his father, but he later studied with the Boston Symphony's second trumpet Marcel LaFosse (1895-1969) and principal trumpet Georges Mager (1885-1950). He also studied solfege with Boston Symphony contrabassist Gaston Dufresne.
The Trumpet Professor's Tips and suggestions
Include Rest in Your Daily TrumpetIf you study the practice habits of the great players you will find that rest breaks are included in their daily practice sessions. Too often players will practice until their lips are exhausted or until they flatten out or play into complete collapse of the embouchure. This non-productive approach can lead to stiff lip syndrome, poor endurance, poor range and a lack of flexibility. Straining and forcing your lips will not help you to become a better trumpeter. Herbert L. Clarke*, the great American cornet soloist and pedagogue, encouraged players to play for a minute and rest for a minute. Throughout his famous technical study book he stressed the importance of keeping the lips “fresh and elastic.” He writes: the muscles of the lips must be trained until they are elastic and strong, and always remembering that only the slightest pressure and not brute force is necessary to produce a tone." All professional players understand the importance of rest in practice. The great Russian trumpet virtuoso, Timofei Dokshizer, practiced in 20-minute segments with 20-minute rest periods. Other players have different ways of including rest in their practice. Some do 15 minutes of practice and 5-10 minutes of rest. Some include 1 to 5 minute rest after each exercise. There can be different variations on when to rest and for how long but the important thing is to rest enough so that the lips maintain their elasticity. For young players it can be a good idea to rest for 10-20 seconds between exercises. If you are a player who practices one or more hours a day try practicing in segments with rests in between. Including rests in ones daily practice is an important part of efficient and productive training.
* Clarke’s “Technical Studies for Trumpet” is one of the great trumpet study books and an absolute must for any serious player