Closed/Opened

[_bugleboy]

Dave,

CR: If we can't find universally accepted characteristics associated with these terms, then they become meaningless and would have no more place in a discussion then a term like 'cool.'

DB: For me they become meaningless when you dwell on them and try to use them to get your chops together. If being focused on closed or open works for you, do it. To me, focus on efficient playing (maximum result/minimum effort), on the sound in my head, listen to what's coming out of the bell and move it closer to my ideal works. I ask myself, "How would George sound on this" and try to get close. That and good practicing does the job.

CR: I don't see any relationship between dwelling on a word, trying to understand what is meant when players use the word and in so doing, causing the word to become meaningless. If words have meanings then the person using them can be held accountable for the logic of his statements. If there is no objective definition to a word, then it can be used indiscriminately and the writer/speaker can never be held to account for any consistency or criticism. Of course by the same token, the writer/speaker isn't saying anything that should be taken seriously, in the sense that that person actually knows what they are talking about. So if 'open' and 'closed' are truly subjective terms, than anyone using them, that doesn't offer a definition beforehand, truly doesn't know what they are talking about. They are essentially, just talking about how it feels to them. How something feels is not a very reliable source of knowledge. Not very scientific. Can we use, as trumpet players, the words that great players use to describe their success. ABSOLUTELY!! But that still doesn't mean that the graet players know what they are talking about. I don't happen to think that most of them do. But that doesn't mean I don't want to hear what they have to say. Just like mouthpieces. I am much more interested in collecting signature mouthpieces than non-signature ones. It doesn't matter that the piece isn't one that I would play on. If someone has succeeded with it, than I want to check it out AND own it.

Now, it would be a great misconception to think that I am possessed in any way with how the closed/open issue resolves or doesn't resolve, and how it relates to my playing. It will be totally meaningless to my practicing and my playing. This is purely of academic interest. Likewise with the tongue, and the air stream (or the wind as many insist on calling it). To me, understanding them is of academic interest only. But that isn't to say that I am not greatly interested in these answers. I am, very much so. But when universals start getting tossed around, it's time to start defining some terms. Open and closed wouldn't be a bad place to start.

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DB: Take a breath and blow. Maynard say that, it clicks with me!

CR: I believe John Coffey said it long before Maynard. Mr. Coffey goes way back, so I wonder who he heard it from. But I agree. It is of academic interest to me, however, why this is good advice. It is probably, also not quite enough coaching for most students. They will probably need just a bit more. But it is a good start.

Regards,

CR