Accelerating Air

PJN · Posted: Wed Feb 09, 2005 6:48 pm Post subject: Accelerating Air

I recently had the pleasure of watching Ingrid Jensen teach an improv clinic to about 75 middle school students here in Portland, Oregon. Ingrid connected easily with the kids, and everyone seemed to enjoy themselves.

I had met Ingrid a couple of years ago, and she not only was nice enough to talk to me after the clinic, she actually remembered me, which was a pleasant surprise.

Anyway, her parting comment was...." You should really get with a student of Bill Adam, and get the whole routine."

Over the years I have been enjoying TH, I have read most of the forums, have worked my way through the Caruso Schedule, and seem to be making pretty good progress in my playing. I got some material from Ingrid, and also from Mark Minasian's websiite, and armed with what I have read here, have been taking a swing at the Adam material.

So after all that, the question is... can anyone direct me to students of Bill Adam who may be teaching in the Portland Oregon area?

Also after doing this for a week or two, this phrase has come to mind, is it in this forum somewhere, and does it apply to how to think about my sound concept?..... We are not blowing the sound through the horn, but blowing through the sound IN the horn...

Any feedback greatly appreciated.

Patrick
_________________
The most important factor in developing the high register is desire, the patience to wait, and the necessary time to acquire it.
Bud Brisbois

PH · Posted: Wed Feb 09, 2005 7:09 pm Post subject:

The two folks to look up in your area are Jim O'Banion and Craig Gibson. They both really know their stuff.

PJN · Posted: Wed Feb 09, 2005 7:13 pm Post subject:

Thanks for a very timely reply, as to my "quote" about sound..... on the right track? Or forget about it?
_________________
The most important factor in developing the high register is desire, the patience to wait, and the necessary time to acquire it.
Bud Brisbois

PH · Posted: Wed Feb 09, 2005 7:14 pm Post subject:

You are absolutely right. By putting the air in motion we excite the sound in the horn. The flowing air turns on the sound that is already in the horn. We blow through the sound.

PJN · Posted: Thu Feb 10, 2005 12:25 am Post subject:

Thanks again, I have made some really exciting progress of late with regards to my sound opening up, and this new direction has given my sound a new depth.

In a way I feel I am finally a strong enough player to fill the horn or something like that, it's hard to put into words, but I sure can hear it !!

Patrick
_________________
The most important factor in developing the high register is desire, the patience to wait, and the necessary time to acquire it.
Bud Brisbois

PH · Posted: Thu Feb 10, 2005 4:38 am Post subject:

PJN · Posted: Thu Feb 10, 2005 9:52 am Post subject:

Mr Harbison,

I agree wholeheartedly!

A few weeks ago I really got my sound to open up, but... it was very bright and brassy a little too edgy.

Lately things are flowing differently and I finally feel as if the instrument itself is able to speak. A much different sound and feeling. Can you tell I am excited?

The help available here is an inspiration.

I will keep in touch, thanks.
_________________
The most important factor in developing the high register is desire, the patience to wait, and the necessary time to acquire it.
Bud Brisbois

trumpity · Posted: Thu Feb 10, 2005 8:26 pm Post subject: Student's of Mr Adam

James O'Banion! Awesome guy and teacher..studied with him of a few years.

Best

Kim W Petersen

trpthawaii · Veteran Member Joined: 07 Feb 2005 Posts: 124

Jim O'banion and Craig Gibson are both great guys and fine players. Another guy to check out, though he's in Washington, is John Harbaugh. He did the three videotape series on the Adam method, was an AI for Mr. Adam's studio and is an unbelievably fine trumpet player and really nice guy.

I see you downloaded the Adam stuff I put on my website. How is that stuff working for you? I have reservations about my site and think about taking it down from time to time. The Adam approach really requires one-on-one instruction. There's no real way to generalize the concepts and put them into print. That's why Mr. Adam never wrote a book and would preface lessons by telling the waiting student "Now don't you do what I'm telling **** to do!" I've met a few people who took things I've put on the internet out of context and were not doing the exercises correctly. I hope you follow the amonishion on my site and track down an Adam student so as to learn the concepts as they apply to you.

Mark Minasian

PJN · Posted: Sat Feb 12, 2005 6:41 pm Post subject:

Mr Minasian,

Thank you for your input. I also appreciate access and availability to the material on your site. I have read the articles and looked at the material many times over the last two or three years. There is not a lot of material out there as you point out, and what I have read has helped me understand some of the material posted in this forum.

I have been using the long tones and the Clarke's exercises only for about a week, in additon to lead pipe which I have done on the fundamental for about a year, a few minutes a day. I simply try to transfer the same feeling of ease to the long tones, and approach the chromatics the same way. I already work on both, and seem to have made an adjustment in my mental outlook, not necessarily anything drastic in my overall physical approach. Just a sound I am very pleased with.

My wife and I just suffered a reversal of fortune, in that our small business is now no longer. As soon as we have some money coming in, I will give Mr Gibson, and Mr O Banion a call.

Any further insights are most welcome, thanks again for your reply!

Patrick
_________________
The most important factor in developing the high register is desire, the patience to wait, and the necessary time to acquire it.
Bud Brisbois