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January 2020

9 TRUMPET TIPS TO TAKE YOUR PLAYING TO THE NEXT LEVEL IN 2020

We’re already a few weeks in to 2020 and, if you’re like me, you’ve already dropped some of your New Year’s resolutions. But that’s OK. There’s no reason to wait until next year to jump back on that horse and start going forward again. Here are some tips I’ve put together that will help your trumpet playing this year. The goal here is not to try to do the entire list, in fact, not every tip may pertain to you. Just pick a few to work on and you’ll soon be reaping the benefits in your playing, and having more fun as well. So, let’s get going:

1. Restarts are Okay!

Maybe it’s human nature, or maybe it’s just a trumpet player thing, but whenever I take a day or two off from playing I know the next day will be rough. And guess what? It usually was…until I discovered how strongly my thinking controlled the outcome of my practicing.  Over the holidays when I had a few days off from playing I decided I would only think positively about the break. It would be a fresh start. It would allow me to refocus my energy on what I do well and unlearn some bad habits. Trumpet playing would be easier and effortless this time, not foreign, forced, and strident. The results were astounding. I made breakthroughs in my playing that I had been working on for months and even years. What’s even more amazing is that this happened after a break from playing when I would have thought the exact opposite would have happened — I should have regressed in my playing. Whether you are just getting back to it again after the winter holidays or are laid up with the flu, remember that restarts are okay with a positive mental approach.

2. Back to Fundamentals.

Spend some time this year going back to fundamentals (especially if you are following tip #1). I’m not talking about daily maintenance. I’m talking about going back to page 1. Spend time working on your sound production, your attack, and your breathing. Imagine if you could become 10% more efficient (creating more sound for less work), or be 10% more relaxed while you play? These improvements can only be made by playing fundamentals.
Taking a beautiful Martin Committee apart to clean.
Taking a beautiful Martin Committee apart to clean.

3. Clean Your Trumpet & Mouthpiece.

This tip should be #1 and it will apply to probably 95% of you based on the horns we see here at the shop. Take 30 minutes of your week and give your horn a good bath. If you can’t do that, take it to a repair shop to have it acid washed or ultra-sounded. Trumpet is hard enough to play consistently day-to-day. When the gunk inside your horn is constantly building up you are spending at least part of your practice time adjusting to it. Get rid of this variable by getting your horn back to the way it should play and maintain it by flushing it out every week. You can also keep a lot of stuff from building up in your horn by using a leadpipe swab after every practice session.

4. Have Fun!

The trumpet is a demanding, unforgiving instrument. If you are a professional trumpet player, the music industry is the same. Whether you are an amateur or a professional, don’t lose sight of the fact that trumpet playing is fun. Don’t focus on the inept conductor or the drummer who adds an extra beat to the measure with every drum fill. When these or similar thoughts enter your mind, take a slow, deep breath and then smile. Focus instead on how the thrill of playing a musical instrument for others, and being able to share your talent, is something that just a small percentage of people in the world are privilege to do. And, you’re one of those lucky few!

5. Take a Lesson.

Our most precious commodity is time. A good teacher is worth their weight in gold because they can improve your playing in less time than you could on your own. Yes, there is a wealth of free information on the Internet on how to play the trumpet; however, you’ll spend more precious time searching, filtering out bad information, and grazing than if you had a guide to show you along the path. One of my trumpet teachers still takes lessons himself every month. He’ll call up other teachers in the area (many of whom are his colleagues) to take a lesson. He also gets together with out-of-town players who are in the area on tour for lessons. This allows him to always expand his knowledge, improve his playing, and expand his bag of tricks to use for his own students.

6. Get Together With Others

Get together and practice with someone else. This may be playing duets, or you can go through your daily routine and trade off. There are plenty of benefits to this. First, you’ll have more fun than just sitting alone in your practice room like you would be normally doing. Second, you benefit more because you can share experiences, learn from the other person, and you can teach them as well. And third, you tend to have a better practice pace when you work with someone else because you take breathers to talk, laugh, or listen to each other.

7. Set Goals

The start of a New Year is always a good time to set new goals or reevaluate your existing ones. If you don’t have goals for your trumpet playing, start setting them! They may be long-term or short-term. I recommend a combination of both. I set goals for every practice session, jotting them down before I start playing. It may be a tempo I want to hit on a fingering or tonguing exercise, or a difficult passage I want to make easier. Longer term goals should be written down as well. For some reason, writing them down tends to put them in motion better than just thinking about them. It may be a career goal, like playing in the Chicago Symphony. It may be tackling a challenging piece you’ve always wanted to play. It may be getting the nerves up to play in front of a group for the first time. Whatever your goal is, write it down and start heading towards it.
Listen!
Image courtesy of imagerymajestic / FreeDigitalPhotos.net

8. Listen, listen, listen!

I find myself overwhelmed with things in my day that take up my time – work, family, Facebook, sleep, driving. I realized that listening to music has become a much less significant part of my day than it used to. I don’t remember the last time I listened to a Mahler Symphony or Miles Davis’ Kind of Blue from beginning to end without distractions. If you are like me, take a concerted effort this year to make the time to listen. We gain so much from listening to great music that cannot be achieved in the practice room. Hearing great musicians and absorbing different styles of music through listening translates directly into improvements in your own musicianship. Besides, hearing a live concert can be so inspiring that you’ll be reminded of why we do what we do!
ID-10030130
Image courtesy of Apple’s Eyes Studio/freedigitalphotos.net

9. Perform!

Make it a point to get out and perform for people. No matter what your level of progress is, once you know 4-5 notes on the trumpet you can make music. You have the tools to connect emotionally with your audience. I’ve seen beginning band students who have been playing for less than a year make people smile and cry with the songs they play. You don’t have to perform at a symphony hall to move people. Play in church, search out a community band, or play at a local nursing home. When you start connecting with others through your playing, you’ll be inspired to do more, and have a sense of fulfillment that you don’t get from just practicing. The thrill of playing a musical instrument for others and being able to share your talent is something that just a small percentage of people in the world are privileged to do. What tips do you have? If you have your own tips I hope you’ll share them in the comments section below.

Reinhold Friedrich Trumpet Interview – The Other Side of the Bell #71

Reinhold Friedrich – Trumpet Interview

Reinhold Friedrich Podcast Logo

Welcome to the show notes for Episode #71 of The Other Side of the Bell – A Trumpet Podcast. This episode features trumpeter Reinhold Friedrich.

Listen to or download the episode below:

About Reinhold Friedrich

Reinhold Friedrich

Born in Weingarten / Baden, Reinhold Friedrich has been a guest of all major stages around the world since his success at the ARD International Music Competition in 1986. Strongly influenced by his teachers Edward H. Tarr (Schola Cantorum Basiliensis, Basel) and Pierre Thibaud (Conservatoire Superieure de Musique Paris). He has always considered that old and new music belong together. The re-discovery of forgotten works of the Romantic period and the classical modern era lie particularly close to his heart, as does his interest in avant- garde music.

He gave his debut performance at the Berliner Festwochen with “Sequenza X” by Luciano Berio. This was followed by his first appearance as a soloist at the Musikverein in Vienna with the Vienna Academy under Martin Haselböck, playing the trumpet concerto by Joseph Haydn on the historic keyed trumpet. His involvement with historical performance practice has brought him together with a variety of orchestras such as the Orchestre des Champs-Elysees, La Stagione Frankfurt, Kammerorchester Basel, L’arte del mondo, Concerto Melante, the Berliner Barock Solisten as well as the Cappella Andrea Barca under Sir András Schiff. The focus of this collaboration was often on the 2nd Brandenburg Concerto by J.S. Bach, whose rendering is near and dear to Friedrich.

As part of his engagement with contemporary compositions, Reinhold Friedrich premiered a large number of significant works. This includes pieces by Wolfgang Rihm, Carola Bauckholt, Luciano Berio, Edison Denissov, Peter Eötvös, Hans Werner Henze, Adriana Hölszky, Nicolaus A. Huber, Luca Lombardi, Benedict Mason, Sir Peter Maxwell Davis, Hilda Parèdes, Matthias Pintscher, Jan Rääts, Rebecca Saunders, Nina Šenk, EnjottSchneider, Daniel Schnyder, Gerhard Stäbler, Eino Tamberg, Caspar Johannes Walter, Christian Wolff, and Benjamin Yusopov. Solo concerts such as “Eirene” by Herbert Willi (Wergo) and “Nobody knows de trouble I see” by Bernd Alois Zimmermann, whose CD recording won an ECHO Klassik in 1994, form an important part of his broad repertoire.

As a soloist, Reinhold Friedrich performed with ensembles such as the Bamberger and Wiener Symphoniker, the Staatsoper Berlin and Stuttgart, the Orchestre Philharmonique de Radio France, the Frankfurt Museum Orchester, the Royal Concertgebouw Orchestra, the BBC Symphony Orchestra, the Czech Philharmonic Orchestra Prague, the orchestra of the Teatro Colon, Buenos Aires and all German radio symphony orchestras; conducted amongst others by Semyon Bychkov, Dennis Russell Davies, Peter Eötvös, Vladimir Fedevichev, Adam Fischer, Michael Gielen, Philippe Herreweghe, Christopher Hogwood, Manfred Honeck, Eliahu Inbal, Krystjan and Neeme Järvi, Dmitri Kitaenko, Sir Neville Marriner, Ingo Metzmacher, Andris Nelsons, Jonathan Nott, Kazushi Ono, Matthias Pintscher, Trevor Pinnock, Stanislav Skrowaczewski, and Hans Zender.

From 1983 to 1999 Reinhold Friedrich held the position of solo trumpeter at the Radio Sinfonieorchester Frankfurt. In 2003, Claudio Abbado appointed him permanent solo trumpeter of the Lucerne Festival Orchestra, which has been conducted by Riccardo Chailly since 2017. Furthermore, Reinhold Friedrich is the Artistic Director of the Lucerne Festival Orchestra Brass Ensemble. Present chamber music partners of Reinhold Friedrich are Thomas Duis, Bernd Glemser, and Eriko Takezawa (piano), Robyn Schulkowsky (percussion), Iveta Apkalna, Sebastian Küchler-Blessing, Martin Lücker, and Christian Schmitt (organ).

Reinhold Friedrich is a professor of trumpet at Karlsruhe University of Music, a sought-after lecturer for master classes, and honorary professor at the Royal Academy of Music in London, Escuela Superior de Musica REINA SOFIA in Madrid, and as well as in Hiroshima / Japan. His former students are winners in almost all major international competitions and hold leading positions or professorships throughout Europe, Tokyo, Tel Aviv, Moscow, and Rio de Janeiro.

Reinhold Friedrich was awarded another ECHO Klassik for the recording of the “Russian Trumpet Concerts” (MDG) with Göttinger Symphony Orchestra conducted by Christoph-Mathias Mueller. Numerous other CD recordings document his multifaceted work, including the first recording of the trumpet concerto “Pieta” by Christian Jost (Coviello) and the recording of the second Brandenburg Concerto (Sony) with the Berlin Baroque Soloists under Reinhard Goebel, which won the OPUS Classical price of 2018. A recording of Stravinsky’s L’histoire du Soldat (with Isabelle Faust) at the Wigmore Hall London is in the planning stage.

Upcoming concerts will lead him to the Elbphilharmonie (concert by Bernd Alois Zimmermann), to the Osaka Century Symphony Orchestra, and the Hiroshima Symphony Orchestra (concert by Toshio Hosokawa), to Siberia (UA “Spirit of Siberia” by Enjott Schneider), to the National Orchestra Yerevan (concert by Ilya Chakov), to Australia with Wolfgang Rihm’s trumpet concert “Marsyas” and to the Lucerne Academy Orchestra under the direction of George Benjamin, with Nuria Rial to the Handel Festival in Halle and with the Berliner Barock Solisten under Reinhold Goebel to Lutry and Versailles. He will also be performing in Katowice, Warsaw, Wroclaw, Geneva, Groningen, Hamburg, Bremen, Freiburg, Dusseldorf, Nuremberg, Lyon, Armenia, Korea and Taiwan.

Reinhold Friedrich Links

Podcast Credits