It may sound silly, but you really don't want to get your valves halfway disassembled before you have your oil ready to go. Take a moment before you start to get out your valve oil and open the bottle. You'll have one less thing to fumble with while your delicate and expensive to repair valves are vulnerable. If you happen to be running low on oil, I recommend Hetman No. 2:
Before disassembling your valves, hold the trumpet in your non-dominant hand at about a 45 degree angle (see photo at right). This will help insure that the valves stay in position while you oil them instead of either falling out or back into the horn.
Unscrew the valves caps on all three valves at once, then pull each valve PARTWAY out, as in the photo.
Be careful not to rotate the valves as you pull them. They must go back in the same orientation they were in before in order to work properly.
Put a few drops of oil on the smooth exposed area of each valve. Three to four drops per valve is usually about the right amount, but vary that as needed for your instrument.
You don't need to oil the spring, or the part of the valve that holds the spring. The only area that needs oil is the part that comes in contact with the valve casing (see photo).
Carefully slide the valves back into position, taking care not to spin them out of alignment as you do. On most trumpets, there is a number stamped onto the valve near the top that tells you which valve this is (1, 2, or 3). This number usually faces the mouthpiece, but on some horns it's the other way around.
DO NOT FORCE THE VALVES BACK INTO THE HORN!!
If you have any trouble getting them back into position, gently, slowly, carefully wiggle them back and forth and up and down. This will usually do the trick. Some valves are more finicky than others... just be patient.
Once the valves are in position, carefully screw the valve caps back on. They should be only "finger-tight." Remember that you will need to unscrew them again the next time you need to oil your valves!
After everything is back in place, it’s always a good idea to blow some air through the horn and make sure everything is working. If you can, play a note or two to make sure they come out. If you’ve accidentally put a valve or two in backwards, you’ll discover it now instead of during your performance!
I just posted this book review to the Dr. Flegg’s Structured Practice Method Blog:
One day this past summer I was surfing my Facebook feed and saw an intriguing post from Manny Laureano. Manny is the Principal Trumpet with the Minnesota Orchestra, and Co-Artistic Director and Conductor of the Minnesota Youth Symphonies Orchestra. He also was on the faculty of the National Orchestral Institute many years ago when I was a fellow there. He is a musician, music educator, and human for whom I have the utmost respect.
His post on Facebook that morning talked about a workshop he was going to be participating in: A “Practice Marathon Retreat” for brass players, at the Magic Mountain Music Farm in upstate New York. I did some reading about the retreat, Magic Mountain, and the founder and co-presenter of the workshop, Burton Kaplan. I really wanted to attend the retreat in person, but I had a performance booked that week that I absolutely could not back out of, so I did some research and found the next best thing… the book “Practicing for Artistic Success,” by Burton Kaplan.
I recently came across a really good blog post on The Productivityist, one of many blogs I follow these days. It’s a guest post written by Ryan McRae, titled “Becoming the Productive College Student.” It’s a pretty quick read, and well worth the time for anyone who’s looking to be more productive in their college years (and beyond!). Here’s my take on what he has to say:
The first part of McRae’s post is about what he calls mastering your calendar. He says to look ahead at your assignments over the upcoming semester and put reminders in your calendar for when to begin working on them. For us musicians, of course, these assignments would be our upcoming concerts, auditions, juries, etc.
I actually use the Structured Practice Method for this purpose in my own practicing: When I know I have something coming up in the future, I create a practice item in SPM and set it’s “Start Date” to the date I’d like to begin working on it. I did this recently with a concert I have coming up with the Flint Symphony. We’re going to be performing Mahler’s 3rd Symphony, which has some major work for the principal trumpet, so I know I need to work on it in advance. Back when I got the season schedule, I set up a practice item for the symphony, and set it’s start date for a few days after I returned from my recent vacation. Sure enough, a few days ago it popped up on my daily practice list and I got to work. Knowing myself as I do, I’m certain I would have forgotten to get to work on it for at least another week or two if I didn’t have that reminder set up, and I would have been less well prepared for the first rehearsal.
One thing I would add to McRae’s advice is to also master your schedule. By this I mean to look at least a day ahead and figure out when you can fit your practicing in. It’s just a fact of life that we often fail to hit our daily goals with regard to practice time. Set times in your calendar and treat them like fixed appointments. If you have an appointment with someone important at 10:00am, you’re not going to hang out in the student lounge until 10:30 (well, you shouldn’t, at least). Do the same with your instrument!
Plan to practice at a specific time and place, for a specific length of time. When that time comes, bite the bullet and go to the practice room and get to work, whether you feel like it or not! This gets easier the more you do it, I promise!
Of course, it pays to make your practice appointments reasonable. Don’t forget to allow yourself some down time now and then, and remember to include time to get from one place to another. Also, if your current average daily practice is 30 minutes, don’t schedule 3 hours right away. Work your way up to it. If you’re not sure how quickly to increase your time, talk to your teacher!
McRae talks about making the Library your “sacred” study space. Obviously this won’t work quite so well for musicians. I’ve heard that librarians frown on students who practice Ride of the Valkyries in the library, though I haven’t tried it myself. Our sacred study space is the practice room.
We don’t typically have much control over what practice spaces are available to us as music students, but when possible I recommend trying a few different spaces. During my undergrad we had a few different types of practice rooms available, and I realized I was much more productive in some than in others. Figure out where you get your best work done and use it to your advantage!
It’s also worth keeping an eye on where you are when you miss the mark. For me, I found I would often miss my practice appointments if I headed to the Campus Restaurant for coffee and a sweet roll (this was very popular among my school’s music majors, as the restaurant was directly across the street from the music building). I eventually figured out that I needed to have at least a half hour free, or I just had to skip the hang-out. My trumpet, wallet, and pants size all rewarded me for the missed social time.
This is McRae’s final point, and we should all etch the above headline deep into our brains.
I know. We all believe we can surf Facebook while we practice our scales. But I can tell you, based on extensive personal experience as well as mountains of scientific research, that it’s really a bad idea. When you’re practicing, practice. Period.
I consider practicing fundamental technique to be a hugely important part of being a musician. As a result, I practice my fundamentals as close to daily as I possibly can. For trumpet, that includes “multi-tonguing,” or double and triple tonguing. Multi-tonguing is a skill that you need to practice regularly in order to maintain a high level.
I was recently working on my double tonguing and noticed my sound quality deteriorating in the upper register on certain passages. This is not uncommon, and it’s one of the reasons I practice that particular exercise. But what was weird was what I did next: