Private Lessons, Clinics, and the Claude Gordon Archives Jeff Purtle is a private teacher, clinician, and trumpet player with international clientele. As a protégé of Claude Gordon he continues the traditions of Claude Gordon and Herbert L. Clarke with effortless playing and productive practice. www.purtle.com
Where are you located? There was a bass trombone player in Los Angeles in the 1980s named Dimitri Popodoplos that had a big band. Write me direct through my site and I might have some ideas of how to get the actual score and parts.
@@JeffPurtle I'm from New Zealand and i'm only 16 so sadly not the same Dimitrios Popodopolos but funny coincidence haha. Ive sent you an email via your website did you get it? Thanks for the response I appreciate it
I created a tag on my site for Frank. He’s in the audience for all of the Claude Gordon lectures but is more audible on the ones tagged and a recital or two is online. It’s all free to listen with an account. www.purtle.com/frank-kaderabek
One important aspect that seems to never be discussed is "why practice soft?" Practicing soft is not that easy but with diligent work, you will notice much overall improvement in virtually every aspect of your Trumpet playing. News flash for us "lead" type cats, practicing soft increases the hypersensitivity in your chops, which is what is required for playing efficiently from high C on up. HLC was doing all that over a century ago now.
I think I covered that. I know I did in my longer conference videos. There are some great examples and demos in the CG Archives on my site. www.purtle.com/claude-gordon-archives
Thanks for posting this thoughtful and useful tour, Jeff. I’ve loved the innovative designs of, and desired a Wiseman case for as long as I can remember! You’ve got a very beautiful and highly functional case there, and I agree it’s a great investment.
Hey! Thanks. That $5800 new MBP finally got put to good work. I learned a few more things with this video in retiming clips and using the audio overdub in FCP to do the audio after the video and pictures were sort of put in a timeline.
@Fun_vr get some private lessons with a good teacher. You probably don’t have cork in your pads. It is likely felt for the inside tops of the valve stem and rubber or maybe felt for top of the caps that go on the valve casing. The Bob Reeves alignments use a different material. I just replaced the pads on my main Bb trumpet that I play about 8 hours a day and they were only minimally off after 8 years of constant use. You have only played 3 years. There are so many more important things you should focus on. Clean your trumpet once a week or maybe every two weeks. Waiting longer damages your horn from the rotting slime and food particles mixed with your saliva inside the dark tubing. Lots of nasty stuff grows that is far more of an issue than anything else.
I will have to talk to Keith about that sometime. Colin, Claude Gordon, Irons, Staigers, Bai Lin and others also use that Bb open. Colin #14 has High F# open that is almost ¼ step flat. Smith uses notes like that I. The glissando and lip trill sections. Lots of fun stuff.
Great upload Jeff, I hope you're doing well. In my six years of study with Claude in the early 80's, I think I heard him play twice. I remember one of the times he did the chromatic scale from low F# up 4 octaves and he did it a few times in one breath. He changed my trumpet life for sure. Take care, Dan McGurn
Hey Dan! You have to look on my site and listen to a bunch of tracks I paid to be restored and transferred. There are tracks never released but were played on the radio. They were on 16 inch LPs and I guess that was used for radio. I have tons of free audio on my site of Claude for anyone to listen to with a free account. www.purtle.com/claude-gordon-archives
It is available at qPress can you do one on the Staigers Technical Studies? I’ve been finding all the years of doing Clarke have engrained bad habits with embouchure that the tongue level studies and pedals have helped with fixing but when I go to Clarke Technical the bad habits creep in. Taking the same approach as the Clarke but since they are different enough the bad habits don’t creep in.
I studied with Paul Witt in college. I’m a 57 year old high school band director and I can still play my axe. I wouldn’t be the player I am had I not studied with Paul. I play on a Selmer Claude Gordon with the CG personal mouthpiece. (Been playing on that mouthpiece since 1983.). Also been a lifelong Chicago fan.
Look at the stuff on my site and videos. Striking the valves hard and lifting your fingers high is very important and do a complete routine that improves flexibility and range and response. You might be surprised how much that matters. Never play too soft. All notes need to respond securely.
Thanks for this. Would he have recommended KTM tonguing for all brass instruments? Trombone? This seems to only be discussed in trumpet circles but I've always wondered if many of the trombone greats used this style of tonguing as well.
I would have to look it up. He and Malcolm McNab each have played around 2500 movies. I’m sure they both have played the episodes and probably the theme.
I already ran it through AI in Final Cut Pro and did a multiband compressor on it. The nice wireless mics I had didn’t record because I clicked the button once instead of twice. Dumb mistake on my part. Sorry it’s not clearer.
@billbryant1288 I have another big one planned that I’m going to try to fly to and back in one day. I’m doing a couple other short ones that aren’t interviews and will start that tomorrow.
I met Mr Kaderabek in 2001 at the ITG in Evansville. I’ve never recieved a higher compliment on my playing than from him when he let me play his Selmer C trumpet. I’ll never forget that.
Best thing my HS trumpet teacher showed me was the Stamp book/exercises. Still do them to this day. Had the nicest conversation a few years ago on the phone with Malcolm. Spent an hour with me and helped me with some problems I was having. So grateful for that.
What a treasure of an interview, thank you. I have the Philadelphia Orchestra recording of Scriabin's Le Poème de l'extase, and it's a constant sound reference for me in my trumpet playing. First time I came across the name Kaderabek was seeing him among the Chicago Brass profiled in Farkas's excellent Art of Brass Playing manual. Legend.
My one lesson with Mr.Kaderabek in Detroit as a student of Clifford Lilly’s at University of Michigan in the late 1960’s was life changing. I will always remember how he stressed the necessity of knowing the orchestral excerpts cold including all the transpositions needed to perform all the repertoire. Also I agree that 60% of practice is to develop endurance. Those two truths served me well for 60 years of playing.
I remember hearing a version of this presentation around 2003 at USC. I'm very glad to see this has been recorded and uploaded so everyone can benefit. It's important that this history is preserved.
“Frank” (Albert Moore April 28th, 2024) From that magnificent concert many recall The thrill of Scriabin in Philadelphia Hall, The trumpeter’s ringing, stentorian calls Would have tested the strength of Jericho’s walls. As over our heads sailed his glorious sound, and we heard throughout the space each note rebound. With passion in his heart and trumpet in his hands, He confidently met the work’s daunting demands. Each soaring statement with never a flaw Left those in attendance entranced with awe. No one knew how exciting it could be, This profound, sublime “Poem of Ecstasy” Until, hearing it played with such brilliance, elan and power, The audience was transfixed for a magical hour. For the thrill of that night, there was only one to thank a trumpeter, musician and man of highest rank Whom we, with humility and greatest respect, knew simply as “Frank”.
Great interview. I’m glad there were many points were Jeff just let Mr. Hickman talk - what he has to say is pure gold. Mr. Hickman has such an expansive knowledge of trumpet pedagogy - he’s not stuck on just one approach when teaching his students. I completely agree with his assessment that usually the upper lip is very passive, and the lower lip only perhaps slightly puckers in - just enough to make it little bit thick and spongy (I think the key to pedal tones). Also enjoyed all his great stories.
I’m glad you enjoyed it like I did. When I do interviews I’m genuinely curious and glad that is evident. If you look my presentations you will see I’m more dogmatic about various items. However, I want to learn from everyone and see why they think the way they do and let them talk. All the people I interview are usually people I have talked a good bit with and it’s like hanging out with a friend. I have some new interviews planned I think everyone will enjoy. My goal is that everyone always leaves with information to practice smarter and be encouraged that anyone can be a great player.
Most of the Cornet's tonal quality is derived from the super deep V cup which created a super mellow almost voice like sound. The Trumpet uses a more shallow cup shaped mouthpiece usually with a narrow throat and fast back bore.
I know the “correct” answer is Bud Herseth but when I’m asked I always say that Phil Smith is my all-time favorite orchestral trumpeter. The sweetness of his sound along with the breadth of colors he’s able to achieve set him apart in my mind as the greatest to ever do it.
Engineer here. This dude sounds like an old school engineer, not a salesman. Very refreshing, coming from so many mouthpiece producers focusing on the salesmanship so much (makes me distruct them a bit, tbh).
