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MF Fan
Veteran Member
Joined: 26 Mar 2002
Posts: 397
Location: The Great White North
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 Posted: Mon Sep 22, 2003 12:57 pm Post subject: |
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I'm in the process of re-reading the Encyclopidia again for the 3 or 4th time and am again wondering why I haven't pursued this stuff further. Doc's writing makes everything seem so simple. At the sametime, I'm still left with questions for how to apply. Hopefully one of the experts will weigh-in on the following for me:
1. I've never been 'typed' by a qualified teacher, but my chops pivot up and to the right when ascending (bell moves down and to the left). It's noticeable when doing an arpegio from low C - G- Middle C. Since I believe I'm blowing downstream, I assume this makes me a IIIB. Sound right?
2. When warming up Ido similar arpegios up and down chromatically and really focus on keeping the left arm pressure to a minimum. If the pressure is balanced correctly, the pivot is smooth and noticeable. Lack of movement is a sign I need to consciously back-off. When I get above the staff however, the movements seem to get much smaller, almost to the point where it appears the pivot has reached the end of its range of motion. Is it typical for the range of movement to diminish as you move higher? I also focus on reducing arm pressure here, but more is naturally required to maintain a seal in this range.
3. I think of the pivot as something my chops are automatically doing vs. something I should consciously influence. It's easy to do and observe in the lower and mid-register. Should I be consciously influencing the movement in above the staff? Should a player use his/her hands to manipulate the direction of the horn (e.g. pull down to ascend), or rather think about pushing the chops up, which will in turn push the bell of the horn down? Both? |
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Wilktone
Heavyweight Member
Joined: 25 Aug 2002
Posts: 729
Location: Asheville, NC
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| Posted: Tue Sep 23, 2003 7:28 am Post subject: |
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| Quote: | | 1. I've never been 'typed' by a qualified teacher, but my chops pivot up and to the right when ascending (bell moves down and to the left). It's noticeable when doing an arpegio from low C - G- Middle C. Since I believe I'm blowing downstream, I assume this makes me a IIIB. Sound right? |
Well, it's impossible to accurately type someone online, but if you're pivoting upwards to ascend (the lips and mouthpiece sliding upwards along the teeth), this constitutes Pivot 1. Type IIIB embouchures always use Pivot 2.
You're more likely a Type IIIA, but without watching you play into a transparent mouthpiece it's really hard to say. You could also be one of the rarer Type IIIs who use Pivot 1, but this embouchure type is uncommon to start with (especially among trumpet players) and most Type IIIs use Pivot 2.
Rather than concern yourself so much about what embouchure type you are, at this point be more concerned with your correct pivot type. At least this way you're less likely to get advice that contradicts your normal pivot (calling yourself a IIIB for example might lead us to give you advice that could potentially really screw up your playing).
| Quote: | | When I get above the staff however, the movements seem to get much smaller, almost to the point where it appears the pivot has reached the end of its range of motion. Is it typical for the range of movement to diminish as you move higher? I also focus on reducing arm pressure here, but more is naturally required to maintain a seal in this range. |
You will end up using more pressure as you play higher, but keep this pressure to a minimum. Check out in the "Encyclopedia" where Reinhardt wrote that in the Pivot System we strive to neutralize the amount of forward pressure (puckered resistance of the lip pucker, "chase the horn") with backward pressure (mouthpiece pressure towards you). To much forward or backward pressure can cause troubles, but neutralized pressure is the ideal.
As the distance between intervals decreases the amount of pivot you should employ becomes reduced. So as you ascend into the upper register the pivot becomes smaller between partials/air chambers. Doug Elliott told me that the amount of pivot to employ should be the same for the same interval, regardless of the register. So an octave slur from middle C to high C would be X amount of pivot and a slur from middle C to low C should be the same amount of pivot, just in the opposite direction. Can anyone else confirm this?
| Quote: | | I think of the pivot as something my chops are automatically doing vs. something I should consciously influence. It's easy to do and observe in the lower and mid-register. Should I be consciously influencing the movement in above the staff? |
The only time you should consciously work on the pivot is when practicing mechanical exercises, such as the Pivot Stabilizer, that are designed to make the pivot subconscious. Once you're done with that exercise you forget all about the pivot and concentrate on other stuff.
Most brass players pivot without realizing it and have never had any instruction in how to pivot properly. Many of these players naturally pivot efficiently but many also have inconsistencies that they're not aware of that cause problems - often not until years later.
| Quote: | | Should a player use his/her hands to manipulate the direction of the horn (e.g. pull down to ascend), or rather think about pushing the chops up, which will in turn push the bell of the horn down? Both? |
Check out Dave Sheetz's article at the following URL. It may help answer some of your questions here:
http://www.airstreamdynamics.com/asd_mechanics.htm
Good luck!
Dave W.
_________________
David Wilken
http://www.unca.edu/~dwilken/
dave@trombone.org
[ This Message was edited by: Wilktone on 2003-09-23 10:32 ] |
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