3 embouchures and the Pivot System

[Irving]

Did the Dr. ever explain how some players managed to play well by using multiple embouchures? Apparently (according to a sound clip of C. Caruso speaking) Méndez and H.L. Clarke played on more than one embouchure. Would this directly contradict The Pivot System's premise that everyone needs to play on one embouchure that is consistent with his physical type?

[BeboppinFool]

I've read (and barely remember) that out of necessity (due to injury or something like that) Mendez learned to play way off to one side, and later learned to play out of the other side. Once his injury healed, he found that not only could he play in the middle . . . when he got a little tired he could go to one side or the other, and then never tire.

He must've been blessed with teeth and lips that permitted him to have three places where he could find his legs.

I don't know Claude Gordon's story at all, and admittedly, my recollection of the Mendez story is rather hazy.

However, I don't believe this implies that he played on what Doc would've termed "multiple embouchures." Multiple embouchures is when you shift gears to slur, or shift gears to go back to tonguing. Or gear switching to play high or low, or loud or soft. I believe that is what Doc was talking about when he spoke of multiple embouchures. At least, that's what I got out of what he told me.

Now, type-switching is another thing that could potentially destroy an embouchure. We'll save that for another topic.

Next?

Rich
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Puttin’ On The Ritz

[Docpivot]

I don’t have any information about Herbert Clarke or Claude Gordon, but I think Rafael Mendez is an interesting case study. He reminds me of one of Doc’s “so you think you have problems” cases.

I have a CD titled “Rafael Mendez – The Legacy:” According to the insert, Rafael suffered injuries to his lip in 1933 and 1967. In the first instance (a door swung open and hit his bell while he was playing), he suffered a deep cut to his upper lip and developed a new embouchure after a few months. The second injury resulted in three fractures to his cheekbone and the loss of five teeth, (he was hit in the face with a baseball bat). It was nearly a year before he could resume playing. He performed on a limited basis thereafter.

The business about Rafael being able to play on “multiple” embouchures appears to be a misstatement of the fact that Rafael had to make changes to his embouchure on at least two separate occasions – both times due to injuries.

Mike

[Irving]

Docpivot,

What you say certainly makes sense. Perhaps Mendez was forced to develop new embouchures out of necessity. That really isn't the point. We can substitute other names (not that I know of many...1 actually...) of other players that can play on different embouchures well. The question is how does this fit in with Reinhardt's theory that each player has a theoretical best embouchure that would work the best for him (or her)?

[JoseLindE4]

Docpivot said: "The business about Rafael being able to play on “multiple” embouchures appears to be a misstatement of the fact that Rafael had to make changes to his embouchure on at least two separate occasions – both times due to injuries. "

According to the Mendez book by Jane Hickman he learned play on different locations after his first injury (p.42). It allowed him to use a new spot when he tired and gave him amazing endurance. It was the unintentional result of his approach to recovery.

[Mr.Hollywood]

Not to take anything away from Rafael, but we must also remember that his career was primarily as a soloist.

When you are a guest soloist you can play what you want, when you want. You also are playing a lot of the same things over and over again so you will always know how to pace yourself on a particular piece of music. Another advantage is that you usually have your own microphone, believe me, all these thing help.

I doubt seriously that anybody would be able to play on 3 different embrouchure settings while playing lead in a big band in a room with bad acoustics.

I read the Mendez book, it was very inspiring to read how he overcame such a terrible injury, and became one of our greatest soloists.


Its also worth noting that a lot of the things that Mendez says to practice in that book are in direct conflict with the teachings and principles of the Pivot System.

Chris

[EBjazz]

Some people survive long lives with three embochure positions. I've known many of them.
Still, it is never suggested in any method that you attempt to play the trumpet with multiple embochure settings.
I wish I could find the book for sale. Is it still in print?

Eb
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Eric Bolvin
http://bolvinmusic.com/product/the-modern-jazz-trumpet-method/
www.bolvinmusic.com

[JoseLindE4]

On the Legacy CD Mendez discusses and demonstrates his multiple setups (track 7). One thing he does mention is that some spots work better than others. But he does say he can put his mouthpiece anywhere on his lips and play.

The book also mentions that after the injury his upper register was somewhat limited.

The book is published by Summit, but a 30 second search didn't find ordering info.

[Lex Grantham]

For the "Magnificent Mendez" book, you might try:

Summit Books
Box 26850
Tempe, Arizona 85285

It was written by Dr. Jane W. Hickman, who is the wife of David Hickman, the Professor of Trumpet at Arizona State University.

Sincerely,

Lex Grantham

[MarchardFerguson]

I think that people that are talented enough can form more embrouchures so they they can continue to play on sore lips

[Vessehune]

On a Claude Gordon video he explains that he developed several embouchures so he could play several Gig a night and not get tired. He even demonstrates several on both sides of center.
_________________
---Brian Vessey---
Calicchio 1s-7 Ultra; ML Bore
Mouthpiece = ?????