Triple Tonguing: My Achilles Heal

Do Mariachi trumpetistas really need to perfect their triple tonguing technique? To be honest, in my twenty-years of playing this instrument--15 of those years performing in a Mariachi ensemble--I have thoroughly neglected this study. This may be, in large part, because of a misguided assumption; I thought that a Mariachero only needed to master double-tonguing; which I spent countless hours trying to even my tone and striking ability. Also, trying to really over think my own mariachi technique, I would doubly practice double-tonguing with an emphasis on staccato; in later years, I would get into trouble with my University Jazz and Concert ensembles because I was attacking, very aggressively, even the most subtle phrasing. My professors later told that I had to tone down my 'mariachi sound.' What can I say, I was extremely naive and always followed a dicho, or saying, of the Mariachieros: "Aye que tocar fuerte y desafinado, al estilo de un piano del rancho." However, I was playing louder than I was playing out of tune. 

Now, as I am trying to fill in the gaps of my technique, I am returning to the triple tonguing exercises illustrated in the trumpet bible: Arbans: Complete Conservatory Method for Trumpet. Although for the last couple of weeks I have been extensively--currently, with limited results--practicing triple tonguing. At this moment, while I am writing this post, I am going over exercises 1 through 5 today; really trying to get the even tone out of my horn. 

Also, every since I started working on this technique, I really started to listen to some Mariachi standards to see if I can best utilize triple tonguing. The first song that comes to mind is "La Boda de Luis Alonzo;" the introduction, to be more specific. In the intro, the cluster of five notes--in concert pitch, it would be successive E's--is easier to perform when utilizing triple tonguing. If done correctly, the trumpet intro should sound clearer, with each note evenly spaced, as apposed to attacking it with one's double tonguing technique. 

I am still looking into more standards that would benefit triple tonguing. Any suggestions? 

Parduba Mouthpieces: To Be Or Not To Be? That Is The Mariachi Question.

This is a very dense topic for me; all throughout my life, a Parduba Trumpet mouthpiece--usually ranging from sizes 3 to 5, in cup size--has been a part of my mouthpiece rotation; largely, In the beginning my career as a trumpeter. I would relied on it more so then than in later years. Frankly, was a love-and-hate relationship with my Parduba (by the way, currently in my arsenal of mouthpieces, I have a Rudy Muck: Second Generation 19C--a subsidiary of the Parduba brand--but I am mainly using a Bach 3C). What is even more interesting is the fact that within the Mariachi Trumpet community, especially with the 'older generation' of Trumpeteros, the Parduba mouthpiece is the official mouthpiece of the Mariachi Trumpeter.

Now, I really have to preface my previous statement; the majority of mariachi trumpeters identify with the Parduba mouthpiece. I understand that many professional Mariachi Trumpeters--people who are part groups considered the 'Pillars of Mariachi'--usually have other mouthpieces they use rather than a Parduba. There decision may have multiple factors; however, I am going to my personal experience with this mouthpiece, since this is where I have more empirical evidence to discuss. 

I really believe that the Parduba works really well in disguising one's technical weaknesses, be it from total lack of practice or failure to practice properly. Two or three years ago, I stopped practicing my trumpet all together; at the time, I was using a Bach 1. However, in no time, I was unable to maintain my constancy after a couple of hours of gigging. In frustration, and the total unwillingness to practice, I chose to use my Parduba: RM (Rudy Muck) mouthpiece; it worked like a charm, clearing up my middle register, as well as improving my tonguing; I could play for hours and hours on end, without getting tired. I thought: 'who needed practice.' After a year and a half of not practicing, in combination with using my Parduba, I started to deteriorate, as a trumpet player; I was a shell of my former self. 

The great thing that Parduba's does--in large part, because of it's patented 'double cup'--for the mariachi player is fortify his / her middle register with the assistance of the double cup. This comes at steep price; one's lower register because extremely difficult to tune--requiring severe lip tuning, on the part of the trumpeter--and higher register because it’s too thin or too brassy because of over blowing. Sometimes, while using my Parduba, I would feel as if my lips were shackled onto the rim of the mouthpiece; allowing for less freedom for lip flexibility (a major concern of mine when I observe other trumpeters using similar mouthpieces). 

I am not advocating for the removal of Parduba mouthpieces from every mariachi trumpet player's inventory; I understand that many people don't have time to put in practice time for their instrument, needing to find a mouthpiece that would be able to take over some of the heavy lifting and not just augment one's skills. Currently, two of my family members, my father and sister, are using Parduba RM's; a 17c and 13c, respectfully. As I am writing this, I have officially placed my 'Mariachi' mouthpiece on early-retirement; I plan on keeping it as a nostalgic relic of my past struggles. 

(For more info on Parduba's, check out www.parduba.com)

An Introduction

I have been meaning to write about my experiences as a Mariachero, exclusively. This blog is more for my sake than any others; however, I am not going to shy away from any suggestions or criticism of my studies. I want to become a better trumpeter; there, I said it. Understanding that obtaining control and mastery over one's instrument is difficult, I know that I can do it. Therefore, let me, briefly, lay out the plan for this blog:

First, this blog is going to be used not only as a journal of my practice-habits but as a way to reflect on my studies, in real-time. This will give me an opportunity to chronicle my advancement, as well as, hear other suggestions to tighten-up my regime. 

Second, I want to be able to use this blog to connect with other Mariacheros in the blogging community, as well as others who might to work on a few things, musically speaking. 

Lastly, this blog is an experiment; I don't know how this is going to turn out. I am hopeful that this trail will not only help myself but also assist anyone who is struggling with any Maraichi-oriented questions. 

Until next time...