Developing an Internal Sound Concept (Clarity & Intensity)

[Derek Reaban]

Pat and Charly,

I have been an active participant on the TPIN list for many years, and several months ago I decided to start contributing on the Trumpet Herald. I have read so many of your postings, and I’m extremely impressed at the ability that each of you has to communicate concepts and pedagogical ideas in this forum (Adam and Caruso). Attached is a post that I shared with TPIN in January 2003 about an experience that validated for me the idea that an internal sound concept with sufficient clarity and intensity can guide my body to generate the sound that I hear in my mind.

BEGIN TPIN POST---------------------------------------------------------------

FOG. Experiencing the Most Resonant Sound!

I had quite a dramatic playing experience last Tuesday at my Wind Ensemble rehearsal that I would like to share with the group. It really is amazing what the mind can accomplish if you let it!

My personal sound model (Jim) was with the Phoenix Symphony for many years and played in a number of community groups just for the fun of it (I was in all of these groups with him). His sound is quite simply the most resonant sound that I have ever experienced from a trumpet player. His sound contains many of the same qualities as Charlie Schlueter and Jim Thompson and literally pushes on me whenever I hear him play (and I was very fortunate to compare his sound directly with Charlie's at a lesson at my house).

To understand my experience last week you have to understand all of the different situations in which I heard him play. I cherished my weekly lessons where I could experience his sound sitting to his immediate right. The same with orchestra rehearsals (an evening college group - volunteer for both of us) and several times I got to sub with the PSO and the Phoenix Brass Quintet. In wind ensemble I would just try to soak in his sound. It was literature that was familiar to me but new at the same time with his tremendous resonance! I heard him playing with the Phoenix Symphony from the balcony of Symphony Hall and from various seats at Gammage weekly. His brass band sound was also extremely present and I felt honored to share the stage with him whenever he soloed with the group.

But the experience that is most indelibly etched in my memory is a very hot outdoor concert with the Glendale Summer band. This was shortly after I met him (probably a month or so, and I was just in awe every time I heard his sound). We were playing lots of show tunes on an evening where the temperature was 110F in the shade! There were at least 25 trumpets in the section and to fit well on the stage each row of players in the band was seated in several large arcs. I was at least 10 players away from him in the section so I was actually in front and to the right of his bell. We began playing selections from South Pacific and then we got to his solo on "Some Enchanted Evening". All that I could think to myself was “Oh my God, what an amazing sound". It was the first time that I had been playing in a section with him, and especially the first time that I had been seated in front of him. The volume and resonance was something that I will NEVER forget. In fact, when I hear that solo today, I am transported back to that stage where I can clearly see him playing, feel the heat of the evening, and visualize the sea of pink shirts that we all had to wear in that group!

Now with that set up, I was at my Wind Ensemble rehearsal last Tuesday and we began the evening with selections from South Pacific. I was playing the solo parts, and when we got to the Some Enchanted Evening solo, my brain jumped back 13 years and remembered his sound with such pristine clarity that even though I was playing, it was his sound that was coming out my bell. The only thing that I can imagine is that I was not able to conceive my own sound image as strongly as what was etched into my brain so many years ago. It was absolutely shocking to me! I would have to say that I generally center the horn well, but last night I jumped to "the highest score"! To reference back to one of my earlier messages, I achieved FOG!

The best part for me was that I was able to maintain this sound for the entire rehearsal. We are doing A Lincoln Portrait this concert and not only did I have that sound going, but I clearly was able to remember Jim's sound on this piece when he played with this group many years ago. It was like everything was just absolutely clicking for me.

I have read so many of these TPIN messages talking about "flooding the mind with sound", and "visualize your performance" to be able to let your mind create you own personal best sound. Unfortunately, I could never make that happen for myself. Then, everything just fell together for me, where the visualization and ideal sound (although not my own), just took over, and my body figured out what needed to happen to create that sound. I've always thought that if I could just experience what it is like to play like that "ONE" time, I would be able to duplicate that sound based on my experience.

Well, I put this to the test over the past week. I tried some Charlier etudes that are very familiar to me. And after I played them, I had such an interesting realization. I sounded just like me! Then I conjured up my experience with "SOME ENCHANTED EVENING"! I tried the Charlier again, and this time I started to let out my newly experienced sound. It is nothing short of miraculous! I'm at a point now where I am finding myself having to think of ways to forget how I would sound, and explore my newly found sound!

I'm sharing this experience because it is so different from what everyone has described to me on this list. My personal sound ideal was buried so deeply that I could recognize that I did not sound as present as my sound model (Jim), but I couldn't ring that sound in my mind before I played. I still can't, but I can clearly remember my recent experience. So, maybe this glimpse into a very real epiphany for me will allow some of you to know that it's possible, but can come very differently to different people.

I am just totally shocked!


END TPIN POST---------------------------------------------------------------


Then in a follow-up message, I discussed what I perceived to be different physically between my “normal” playing and this newly experienced “most resonant sound”.

TPIN Excerpt---------------------------------------------------------------

I have been thinking about what this most resonant sound "felt" like while I was playing. When I achieve my normal resonant sound, I feel like vibration is occurring in a roughly cylindrical shape (lip stuff) around my aperture and is about the diameter of a pencil. When I experienced this most resonant sound it was as if the entire cylindrical shape had grown (to literally the inner diameter of the mouthpiece - "plug" shaped), and absolutely everything was vibrating inside the mouthpiece (much more lip stuff). Essentially, the mass of the vibrating medium (my lip stuff) had at least doubled (maybe more). This increased vibration led to a much stronger, clearer, more resonant signal. There was just so much more trumpet sound content to work with!

END TPIN Excerpt---------------------------------------------------------------


Now I’ll come to your forum with what I didn’t write about on the TPIN list. I have three little boys at home (at the time 4, 2, and new) and they all got double ear infections right about the time of my resonant sound epiphany. It was wintertime, I was in a very demanding 2-week training session at work, I was trying to finalize several certification documents for submittal to my customer concurrently with the training, and I was planning a 2-week vacation at the end of my training session. With my youngest son in so much pain he had trouble sleeping through the night (and staying up with him many nights in a row) it was very clear that there was a lot of stress in my life. So, I joined my boys and got my first ear infection as an adult!

This ear infection held on for over 3 weeks, and occurred just when I was finding my “most resonant sound”. I was extremely frustrated when I discovered that I couldn’t recreate this marvelous sound when I finally recovered from one of the most painful experiences that I have had as an adult.

Since this experience, I have incorporated the Bill Adam leadpipe playing (1-2 minutes of D-Eb concert), the Bob Findley variation on the Caruso 6-Note exercise (all breath attacks), and Jim Thompson’s Buzzing Basics into my daily routine in order to help me get back to this “most resonant sound”. I can see dramatic improvement in my sound production, so I know that Adam and Caruso have many of the important answers that I am looking for.

I know that with a strong sound model ringing in my head (an image with clarity and intensity), my body will find the appropriate way to generate this sound. I have experienced it! I would love to receive some feedback related to ringing the sound in my head (I feel like the sounds that I currently hear are very faint at best). I’ve debated for a long time which forum to submit this to. I am VERY impressed with the Jim Thompson Buzzing Basics. Likewise, I know that Adam and Caruso have led me to achieving more consistency in producing a resonant sound. I’m hoping that this is the right place for my topic.

You have both managed to stir many ideas in my mind (although I was merely lurking at the time) that I have explored through the TPIN list, and I decided that I would like to get your first-hand opinion on how I can return to my “most resonant sound”. For background, I am an engineer (my day job) developing gas turbine engines for aircraft and a symphony trumpet player with a regional orchestra (Mesa Symphony). After incorporating the Adam and 6-Note elements into my practice day, I had a fantastic experience preparing an audition for the Phoenix Symphony. Tomorrow I’m continuing the momentum that I built up for that audition by taking the audition for the Tucson Symphony. Even though I don’t make my living playing the trumpet, music is an integral part of my life, and returning to this “most resonant sound” will be my NUMBER ONE goal after I have finished with the audition process.

If I can clarify anything, or if you need more details, please let me know. Your thoughtful consideration to my question is greatly appreciated!

EDIT: Fix links to the Phoenix and Tucson Symphony audition posts.


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Derek Reaban
Tempe, Arizona

[ This Message was edited by: derek reaban on 2004-07-21 03:06 ]

[PH]

Derek,

Congratulations on a MAJOR epiphany!

I'll post more later. This demands a thoughtful, ostensibly profound, response. I've got too many gigs, busy teaching schedule, & production deadlines for my new CD in the next couple of days. Soon...

Pat

[Derek Reaban]

Pat,

Thanks very much for responding. I am in no rush for a more detailed response (take your time). I have pursued many different avenues trying to find an answer to my question, and while I have learned a great deal going down each path, none of them have returned me to that sound (great improvements yes, but never all the way to my past experience). I know that my ability to “observe” the many different aspects of my playing has greatly improved based on the various enhancements that I have made to my practice day, so that when I do return to this sound I will be able to “memorize” that feeling.

Consistency in generating a strong, clear sound in my head is ultimately the answer that I am looking for. Over the past 6 months (preparing for my two auditions) I have been ACTIVELY listening to music to “put” the sound in my head (generally an hour per day – sometimes two). It has helped tremendously! I have also explored the ideas in Kenny Werner’s book “Effortless Mastery: Liberating the Master Musician Within”. He clearly has answers for me! I usually do my practicing late at night, and applying his “meditations” at the end of a long day would probably put me right to sleep (another challenge for me to overcome). Like anything worth achieving, hard work is required. I’m ready to focus my efforts (any tangible suggestions that you can provide) in returning to this glorious sound!

Good luck completing your pressing projects!

Thanks in advance for any comments or suggestions that you can provide!
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Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

[trumpetfox1234]

Dear Derek,

Congratulations on getting a taste of what it is really like to play. I, too, am so busy that I won't be able to give you a long response, but I will try to give you a more brief reaction as to how to keep this new wonderful sound going.

The first thing you do when you wake up should be to walk in your practice room and play the first few notes of the "Some Enchanted Evening" solo cold, no warm-up before you have time to think about it. Right to the practice room, no eating, no coffee, nothing. This will serve to burn this into your unconscious, before any static from your own old thoughts come in. Don't worry about whether you are still copying Jim's sound that day, your sound, as you have already experienced, will continue to come out through this higher level of imitation of Jim's sound every morning. Try this for a few weeks and see what happens. This space should bleed over into your other playing as time goes on, perhaps quicker than you can imagine

http://www.trumpetworkspress.com
.

[Derek Reaban]

Mike,

Thanks very much for your feedback here! I like your suggestion very much, however, I believe that I have missed my window of opportunity to cultivate that “remembered/visceral” experience due to the passing of time (my experience lasted for only 3 days and this was over a year ago). What you have done for me is caused me to really consider how to retrace my footsteps to recreate what I experienced.

The conductor of my Wind Ensemble mentioned just this week that he has recordings of all the concerts that we have done over the past 14 years on CDs and can burn copies for those of us that are interested. If I can get a copy of the recording with my friend Jim playing on South Pacific, I might be able to “trick” my mind into this VERY real sound conception again.

I’m nearing the completion of some large projects at work, and I will probably be taking some vacation time in the near future. If I could time this reconstructed epiphany with an actual recording, stimulating a mental image with clarity and intensity, and actually be able to glimpse that sound in my playing again, I would then put myself in a position to make it permanent. For instance, I could truly listen (active listening with the part in front of me) non-stop for a week to this recording, allowing visualization time to close my ear and see, hear, and smell every detail of that earlier outdoor concert. Then I could test the waters in my daily practice to see if I could get back to this “most resonant” sound.

Once it appears (but not before) I would then take my vacation time to dedicate cultivating this new sound in frequent short sessions to assure I am relaxed and focused on the goal at hand.

Your suggestion to begin each day thereafter with the original “seed” to allow this sound to grow makes all the sense in the world!

I’m still very receptive to any additional suggestions that you can provide with respect to finding tangible ways to strengthen the clarity and intensity of the musical message in my mind. That goes for you too Pat!

No rush… I’m excited about this current game plan to target my sound goal!

Looking forward to reading your book. I have a copy on the way from Seminary Co-Op Bookstore!


Thanks again,


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Derek Reaban
Tempe, Arizona

[ This Message was edited by: Derek Reaban on 2004-02-20 01:44 ]

[razeontherock]

Hey Derek, above you said

"finding myself having to think of ways to forget how I would sound." Makes perfect sense to me, and I think any Adam disciple works through this, although they might verbalize it differently. Any helpful suggestions/techniques?

I always just focus on the desired sound. Memories of how Mr. Adam's last note would continue to ring from the horn after he pulled a trumpet (any trumpet, even mine) away from his lips work wonders toward the entire spectrum; relieving tension, adding joy and energy, etc. etc. But especially as I push my limits (endurance, technique, etc.) and the sound coming out the bell begins to vary from my "target" sound, the task is mental focus on the goal, which clearly overcomes our own limitations and ultimately transcends our playing to the next level. I've never applied myself actively to "forgetting how I would sound," as you put it. Before I do, I'd appreciate some input on this idea ...
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"And this is life: that you know the Son, and the One who sent Him." The rest is just details

[Derek Reaban]

I just posted a topic entitled Aperture Tunnel (Achieving Maximum Resonance) that I wanted to link together with this original post.

It provides a conceptual picture of what I experienced when I briefly found my most resonant sound.
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Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

[Billy B]

<I'm at a point now where I am finding myself having to think of ways to forget how I would sound, and explore my newly found sound!>

This sentence jumped out at me. You can't forget something you have experienced. Also your mind can not differentiate between good and bad. It merely records what you have done and makes the information available. So rather than trying to forget a thought, we must substitute another thought and focus our concentration on this. Also remember that you can only concentrate on one thing at a time. Since sound is what we are after, that is what we concentrate on. This is what stimulates the mind to direct the physical system to do what it needs to do to produce the sound. If you think of the individual actions, you have lost your focus and all kinds of problems appear.

<I have been thinking about what this most resonant sound "felt" like while I was playing.>

You can't feel sound. By trying to feel anything you will only move your concentration from the sound to your physical system.

I would suggest that you return to "your most resonant sound" and use that sound in the audition.
_________________
Bill Bergren

[MrOlds]

Derek,

I'm curious about your progress with your most resonant sound. Your first post above was over 18 months ago. How long did it take you to make that sound a habit in your everyday playing? Do you find that it is completely established now or does it occasionally disappear? How has your concept of this sound changed now that its more established?

Regards,

[Derek Reaban]

Billy,

Years ago I really enjoyed watching the program Star Trek – The Next Generation. Things really got interesting on that show when they were catapulted thousands of light years from their small understanding of the universe to unfamiliar waters where they encountered the Borg. That was an epiphany (although a dark metaphor) over which they had no control. They were simply placed in a new environment and given an opportunity to develop an understanding of a new adversary that they were not yet suppose to know.

That is exactly what I experienced in my playing. I was literally catapulted into a place in a way that I couldn’t understand, but this most resonant sound was there for me to experience and to develop a brief understanding of before I returned to the commonplace, everyday sound that I knew to be my own.

Wait…this is a better illustration.

We recently signed up for cable (both TV and Internet) after years of rabbit ears and dial-up. I remember when the video clips of Manny playing on the Monette site first came out, and it took over 45 minutes for me to download that clip to see him play (worth every second!). Tonight I went to that site and clicked on the “play all” button, and within seconds I was viewing all three clips.

My sound epiphany was as if I was still hooked up to dial-up and when I clicked the Manny clips they were simply available to me instantaneously instead of the familiar wait time of 45 minutes for each clip. It was like information was flowing into my computer at an impossible to understand rate that didn’t compute with the cord that was hooked to the back, but it was still happening.

When I said I had to find ways to forget about how I would sound to get to this glorious “most resonant sound”, that’s exactly what was happening to me. It was epiphany time, no explaining how or why this sound was available to me, it just was.

You also said, “you can’t feel sound”. Well, this experience did allow me to “feel sound”. If you compare Figure B with Figure E in the link that I provided, that picture represents the physical feeling that accompanied this most resonant sound. I was literally being shaken at my foundation and being told, “look at what your mind and body can do if you just let it!”

Then I got sick and as magically as I was transported to that special place, I was all of a sudden back to the commonplace. There was no way for my “ship” to travel the thousands of light years to get back to that place. My magic “cable” was no longer on the back of my computer feeding information at “light speed”. When you say, “I would suggest that you return to "your most resonant sound" and use that sound in the audition” that is what I wanted to do more than anything, but the means were no longer there.

It’s been a long journey for me, but my sound is now represented by Figure D in the link that I provided. I’m putting the “control system” in place to get back to that most resonant sound (Figure E). I immerse myself in great sounds every time I get into my car. I spend lots of time cultivating a resonant “reedy” buzz on the mouthpiece / leadpipe combination. [I know this next one is contrary to the Bill Adam school of thought, but…]. I use the James Thompson glissandos to impact the quality of the vibration. And most importantly, I have simply let go of trying to control “sound production” and given this over to my body driven by the most clear sound image that I can conjure up in my mind. And it’s working!


MrOlds,

My sound becomes a little more resonant every day. Since I returned from the ITG conference last Summer my sound has continued to become more resonant and vibrant. There are physical processes that I have put in place to get things working like I know they should. Things like breath attacks, leadpipe playing, the Caruso 6-Note exercise, and releasing tension in my breathing mechanism, but the real catalyst is allowing my mind to know that sound production is really easy (I saw dozens of players do things so effortlessly in Denver every day for a week that I really have allowed myself to believe this). I know I’ll get back to my most resonant sound. I’m getting closer every day!
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Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

[jcopella]

This thread SO reminds me of an old Zen story.

A devout monk had been studying and practicing meditation for many years. One day he rushed into the small hut where his wise old teacher lived, and exclaimed, "Master! I have attained samadhi! I have had the experience of my mind and body falling away, and merging into oneness with the universal consciousness! Perfect awareness! Ultimate bliss! Ultimate harmony!"

The teacher replied, "Don't worry. Keep meditating. It will go away."

[Billy B]

Derek,

I understand where you are coming from. I am merely respomding to your post from my point of view as an Adam student. From this point of view you can not "feel the sound."

<I have simply let go of trying to control “sound production” and given this over to my body driven by the most clear sound image that I can conjure up in my mind. And it’s working!>

This is what it is all about. The problem I see is that even though this works for you, you still attempt to analyze things. Your engineering mind needs to chill a bit when you pick up the horn. Even if you can separate your analysis from your playing, I think it is dangerous to even think about it! As far as mouthpiece buzzing, I would urge you to try something. Instead of buzzing the mouthpiece, spend that time singing tunes from the Getchell first book with a very up front, almost nasal sound ala Jussi Bjorling. Play each tune after singing, keeping that operatic tenor sound in your mind. Initially the sound may be a bit crass, but keep at it. This will set up more opulence in your sound. Of course your performance sound is always dictated by the music.

There is an Adam student in your area, Dan Reed. He spends a lot of time on ships and I don't have a phone number, but I do know he is in your area when on breaks. Check him out.
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Bill Bergren

[Derek Reaban]

John,

Hey! It's great to see you posting here! All of those conversations that we had years ago when you were first beginning your lessons with Mr. Adam really had an impact on me. I have incorporated much of what we discussed into my playing and have continued to validate these ideas again and again with many different players.

Thank you so much for you insights at a point that I needed some tangible ideas to get my foot in the door (especially on hearing the sound in my mind) with these concepts. I have been immersing myself in sounds much more completely these days, and it's very common for me to be sitting at my desk at work and hearing (in great detail) the sounds of Cecelia Bartoli, Jussi Bjorling, Song of the Nightengale!!!!, and many others.

Looking back over the past four years I can't even imagine how different my concept of sound production is today versus my preconceived ideas of what I should be doing to make a sound on a trumpet. Releasing those ideas has allowed me to move from good to great!

Take care,
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Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

[Derek Reaban]

Billy,

Thanks for your message.

You wrote:

[Billy B]

Derek,

None of what I say are my ideas. I try my best to follow the teachings of Bill Adam as closely as possible. The mouthpiece buzzing is not reccommended by Adam in any way, shape or form as a part of a routine. He will use it for specific problems that he could never identify unless he could hear the student in person. Mr. Adam has us sing everything we play. Clarke, Getchell, Thieck, any piece we are performing. Everything. He also discourages a student from studying several different approaches at the same time. I can only answer from the basic philosophies he has taught me and I can state fairly confidently that you are analyzing too much.
_________________
Bill Bergren

[Derek Reaban]

Billy,

I received a PM from jcopella. He seems to be on a path very similar to my own (several steps ahead!) and always seems to have the perfect words for me (in a way that aligns with my own experiences).


You wrote:

[Billy B]

Derek,

At my last lesson a few weeks ago this came up. We sing various things in a lesson, but he always brings out Getchell 1. We start singing then playing in different keys and I start to stumble. He gos into a story about Jerry Hey not having his transposition assignment under control. Adam suggested to him it may be a good idea to transfer to one of the other studios if he wasn't going to do the things Adam assigned. Of course he was talking to me, not Jerry. I say this because no matter how advanced you may be, Adam goes back to Getchell 1, page 1. We play them in all keys, allowing the sound to be the stimulus to play the instrument. In other words, playing by ear while looking at the tunes printed in the original key. (movable do?) Lines, spaces, names of notes and fingerings are irrelevent. Doing this will greatly improve your singing of the Bach and Telemann.
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Bill Bergren

[Jazzman885]

Hello Derek,

I have just found your posts and was very interested in your "resonant sound" epiphany and the paper you wrote on this subject.

"

[BRSpringer]

I thought I would respond to the above question even though it is not addressed to me. In one of my lessons, Mr. Adam told me "you can get that sound on any mouthpiece," and reminded me that Herseth played on a 7C before his car accident and had "that sound."
Your sound concept originates in your mind, not the mouthpiece. Your mouthpiece size should be determined by comfort and what type/style of playing you do. Doc Severinsen is notorious for always trying different mouthpieces, but in the end, he still sounds like Doc. And Don Jacoby said that Bud Herseth could play on the top of a Schlitz beer can and still sound great (one of my favorite trumpet related quotes).
Pat, feel free to correct anything I said, if you think it necessary.

Barry

[Jazzman885]

Thanks Barry. I appreciate your comments.

And, no ... I wasn't looking for yet another excuse to acquire yet another mouthpiece It just seemed to me that Derek Reaban's description of almost doubling the amount of vibrating "lip stuff" in the mouthpiece from his original visualisation of a pencil's diameter, would almost by definition require a fairly large mouthpiece cup to achieve. In other words, it is hard to conceive of his new resonant sound being achieved on a small shallow mouthpiece which doesn't allow sufficient room for that extra "lip stuff" to vibrate.

In an old Vincent Bach Mouthpiece Manual which I have, VB very strongly advocates the use of as large a cup diameter "as the player can endure" and states that "a large cup diameter allows a greater portion of the lip to vibrate, thereby producing a large volume of tone". He goes on at great length and with great conviction in the same vein.

It seemed to me there might be some possible correlation between Vincent Bach's observations and the practical findings of Derek Reaban - hence my question.

As with most things trumpety, I think your advice indicates that one cannot generalise in these matters.

Thanks again

Alan