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tpterman Regular Member
Joined: 10 Jul 2010 Posts: 25
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Posted: Wed Jan 09, 2013 9:34 am Post subject: Please Explain |
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One of the tenets of Jimmy Stamp's teaching is:
"Stay low going high and stay high going low."
It makes sense to me to "stay low going high" so you don't anticipate and then overshoot your high notes or squeeze out ones along the way, but I have never quite understood "stay high going low."
I have to anticipate downward movement to make sure that I am open in the low register. If I "stay up" when I finally get below the staff those notes wont speak.
Can someone please explain what is meant by "stay high going low?" |
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EdMann Heavyweight Member
Joined: 31 Mar 2007 Posts: 2481 Location: The Big Valley
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Posted: Wed Jan 09, 2013 9:51 am Post subject: |
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There are better informed Stamp-ites out there than I, but it's more of a mindset, a visual if you will to prevent you from pinching and playing sharp as you ascend, and from playing flat and too open down low. Keeping the sound even where each note has the same core. It's the kind of counter-intuitive thinking that works for trpt, but drives most of us crazy!
ed |
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Mark Curry Heavyweight Member
Joined: 15 Feb 2007 Posts: 1095
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Posted: Wed Jan 09, 2013 9:55 am Post subject: |
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tpterman-
in a very *general* sense it means to maintain your energy (including chops and air support) when going from high to low. Maintain the same focus downstairs as you use upstairs.
Too many of us have a tendency to let our chops and air get a little "saggy" when making those jumps from high register to low register.
I know I do.
generally speaking, of course:) _________________ A mouthpiece never missed a note by itself! |
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cheiden Heavyweight Member
Joined: 28 Sep 2004 Posts: 8914 Location: Orange County, CA
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Posted: Wed Jan 09, 2013 10:17 am Post subject: |
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The way I make sense of it is...
First I consider the embochure to be principally two parts, the center vibrating surface and the strong surrounding support structure. One way to transition from high to low is to slaken the entire system which works but produces a flabby sound. Another other is to hold the supporting structure relatively constant and coax the center vibrating surface to become more supple. _________________ "I'm an engineer, which means I think I know a whole bunch of stuff I really don't."
Charles J Heiden/So Cal
Bach Strad 180ML43*/43 Bb/Yamaha 731 Flugel/Benge 1X C/Kanstul 920 Picc/Conn 80A Cornet
Bach 3C rim on 1.5C underpart |
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TWEAK Veteran Member
Joined: 20 Jul 2004 Posts: 416 Location: Albany, NY
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Posted: Wed Jan 09, 2013 10:20 am Post subject: |
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cheiden wrote: | Another other is to hold the supporting structure relatively constant and coax the center vibrating surface to become more supple. |
WOW that is a really interesting way of putting; never thought of it like that before! _________________ http://onlinejazzclass.com |
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shofar Veteran Member
Joined: 02 Jun 2003 Posts: 231 Location: Rogersville, Tennessee
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Posted: Wed Jan 09, 2013 10:32 am Post subject: Explanation |
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tpterman: take a look at the Dissecting Stamp Threads. That explains quite a bit about what Jimmy was talking about. |
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