Bach 1c E over DBL C warm up #4

[Shaft]

That's cool that you can have that type of insight. I don't know how I would diagnose that in someone but never thought to ponder it on another player.

Thank you for that. I do feel as though fixed works better for me.
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[Trumpetingbynurture]

If you're unsure about what your jaw should do, the two things that Hickman talks about to work that out is lip bends and pedal tones. Doing them, you'll either want/need to adjust the jaw position or you wont.

[Shaft]

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[Shaft]

Thank you for that note about David Hickman. While it Texas Arlington there was a gentleman who had graduated and went to pursue is Masters with Mr. Hickman and I very much admire what kind of experience he would have while there knowing Mr. Hickman's accolades from the Internet.

That is good advice and a commonsense approach to the instrument.

Regarding cat Anderson and the teeth being open or closed.

One time I had heard that it could be done with the teeth closed and I played with that a little bit a few years ago. I decided that it was not for me.

I would say that my teeth are open roughly a quarter inch to about 3/8 of an inch, probably more like three eighths. I could see how that could change based on the individual.

Another thing that comes to mind is something that a gentleman named Lionel mentioned, which is how far below the upper teeth does the top lip descend? This may be something that I will begin to analyze while playing the cat Anderson technique as well.
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[ljazztrm]

Hey Eugene, I am guessing you are a fixed jaw player because you mentioned consciously manipulating the jaw to improve your playing. 'Trumpetingbynurture' reminded me that that's how Hickman says you can test yourself to see if you have a fixed jaw or not (with the lip bends/pedals I mean).

Do you have Chris Gekker's book 'Slow Practice'? https://qpress.ca/product/chris-gekker-slow-practice-pdf-download/

I mention this one because he has a wonderful section in there where you are practicing long tones in a musical context as well as slower 'long tone lines' and lyrical playing with having the opening to Bruckner's Symphony no.7 in all different keys. I was listening to your latest fanfare clip (good job!) and it made me think of Chris's book..He's got a lot of good sections in there and explains things very well and clearly.. It's a real gem!

Since your a student of Pops, I can tell you I practice these exercises with Pops' 'tensionless playing' ideas in mind. (And this has a lot of similarities to Lynn Nicholson's approach). It's a fantastic way to build endurance and range I find by really enforcing a 'sweet spot' on the chops and developing very smooth airflow to let the air do the work and take the burden away from the chops. All the best, Lex
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Mpcs: Jim New-Manley Jazz1/Jazz2/Jazz4/Lead3. Legends MF1. Reeves 39EX/HV. Frost 39MVD. Flugel: Jim NewMF3. Jim New-Manley F1+F2. Pickett MF. Reeves HF.
Trumpets: THE LYNNZHORN!!/Stomvi Forte pocket
Flugel: Manchester Brass Pro Model
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