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Dissertation about Laurie Frink



 
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mcstock
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PostPosted: Tue May 12, 2015 5:14 pm    Post subject: Dissertation about Laurie Frink Reply with quote

A friend shared this on Facebook. I've skimmed it and look forward to having time read it more closely.

http://scholarlyrepository.miami.edu/cgi/viewcontent.cgi?article=2397&context=oa_dissertations

Best,

Matt
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trumpetdiva1
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PostPosted: Tue May 12, 2015 6:05 pm    Post subject: Reply with quote

Thanks so much for sharing!

Best,

Janell
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gstump
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PostPosted: Wed May 13, 2015 4:50 am    Post subject: Reply with quote

Thanks for the link. I enjoyed the thesis. It is good to know academics consider the Caruso Method such a major work as well as the great work of Laurie Frink.

There is one area of Caruso that receives little attention and that is "cause and effect". Since many trumpet players are over thinkers and overly analytical, the Caruso approach can be such a relief.

Thanks again.

Gordon Stump
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mavrian22
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PostPosted: Fri May 29, 2015 6:48 am    Post subject: Reply with quote

After reading so much useless posts in the fundamentals forum lately, these are the kinds of resources shared on TH that make it all worthwhile. Thanks for sharing, what a great dissertation.
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wvtrumpet
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PostPosted: Fri May 29, 2015 8:24 am    Post subject: Reply with quote

Awesome. I always like seeing things about her. My undergrad teacher and very close friend taught her briefly when she was a student at the U of Nebraska.
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pepperdean
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PostPosted: Fri May 29, 2015 10:52 am    Post subject: Reply with quote

I enjoyed reading it. There were parts, however, that were attributed as unique Laurie Frink creations that had been assigned to me by Carmine. A complete research project might have included a survey or interviews with Caruso students.

Alan
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loudog
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PostPosted: Fri May 29, 2015 12:33 pm    Post subject: Reply with quote

wvtrumpet wrote:
Awesome. I always like seeing things about her. My undergrad teacher and very close friend taught her briefly when she was a student at the U of Nebraska.


Not sure who you are (or if we've been in touch on Facebook at all) but I recently completed my dissertation on Denny Schneider (Derek references it in his document, and I referenced his about Laurie. We were in touch a fair bit about some stuff). If you'd like to take a read, please contact me!

Louie
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vialvest
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PostPosted: Wed Jun 03, 2015 4:25 am    Post subject: Reply with quote

Seems like she had almost every student do the lips-mouthpiece-horn exercises. I just don't understand how it's helpful. It usually messes me up :p any ideas why she used it so much?
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pepperdean
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PostPosted: Wed Jun 03, 2015 11:16 am    Post subject: Reply with quote

I got the lip-mouthpiece-trumpet regime from Carmine. I speculate it was to make my lips do the work without the "twist" as Carmine called it. He also stated this was a purpose of pedals. I began doing it with Schlossberg exercises then graduated to "playing" chromatically between third space C and second line G down and up and up and down. When I got to the trumpet, I was supposed to do it with just the lips - no valves.

It might be worth noting that when buzzing the mouthpiece, Carmine had the student hold the 'piece in a reverse position so you could not apply pressure and twist when buzzing. It's hard to explain but I'll make an attempt: Hold your mouthpiece for normal buzzing; twist your arm around as if you were going to blow in the shank end of the mouthpiece; remove the mouthpiece and turn it around so you're ready to blow in the cup.

There must be a better way to describe this. Maybe another Caruso student will have a better way to describe it.


Alan
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vialvest
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PostPosted: Sat Jun 06, 2015 3:45 am    Post subject: Reply with quote

pepperdean wrote:
I got the lip-mouthpiece-trumpet regime from Carmine. I speculate it was to make my lips do the work without the "twist" as Carmine called it. He also stated this was a purpose of pedals. I began doing it with Schlossberg exercises then graduated to "playing" chromatically between third space C and second line G down and up and up and down. When I got to the trumpet, I was supposed to do it with just the lips - no valves.

It might be worth noting that when buzzing the mouthpiece, Carmine had the student hold the 'piece in a reverse position so you could not apply pressure and twist when buzzing. It's hard to explain but I'll make an attempt: Hold your mouthpiece for normal buzzing; twist your arm around as if you were going to blow in the shank end of the mouthpiece; remove the mouthpiece and turn it around so you're ready to blow in the cup.

There must be a better way to describe this. Maybe another Caruso student will have a better way to describe it.


Alan


I tried the buzzing technique and it makes sense to me. Thanks for the info
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vialvest
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PostPosted: Sat Jun 06, 2015 5:19 am    Post subject: Reply with quote

I also found it interesting that she used to assign the interval exercises in a soft dynamic. Did Carmine do this?
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bagmangood
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PostPosted: Sat Jun 06, 2015 10:43 am    Post subject: Reply with quote

What I was told was to play it at a "comfortable volume" - not softly, more mezzo-piano/forte than piano
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gstump
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PostPosted: Sun Jun 07, 2015 3:17 am    Post subject: Reply with quote

Yes and no. The Regular Intervals (half-half-whole note) aka Reg are played with abandon. That means very different things to different people.

The Soft-Loud-Soft (whole-whole-whole note) aka SLS are played, well you can figure it out!

Gordon Stump
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gdong
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PostPosted: Wed Jun 17, 2015 8:02 am    Post subject: The Author Reply with quote

Hi everyone,

Funny that I just saw this now...

I am, in fact, the Author of this dissertation. Thank you all for checking it out. Please continue to recommend it if you can. There is an appendix with fully notated exercises in this paper as well. The paper serves as an outline and guide for that appendix.

In response to a post above, the main conclusion that I came to in this research was there were very few exercises that I found to have been actually created by Laurie. And those exercises that my research shows were created by her may have been first formulated by someone else. (I can only postulate in so far as my research supports). In any event, the important part is not "who" created the drills but rather in "how" they were used.

The take-hope was that the Frink System was revolutionary and effective because of the analysis, prescription, and application of the routines that Frink would create. These routines consisted of only a small variety of drills, but ones that could be scaled to any level.

Frink's contribution was in the application of specific material geared towards specific physical goals rather than the generation of unique or proprietary exercises.

In this, Frink's method is very much a development and evolution of the Caruso school. A school that is firmly rooted in the reflexive and muscular coordination aspects developed by Carmine, but that also borrows heavily from the time-tested schlossbergian schools. This is why there are no Caruso interviews. Furthermore, there is already an excellent dissertation that covers the Caruso school. It is worth reading and can be found in my bibliography.

Thanks again everyone.

Link to paper: http://scholarlyrepository.miami.edu/oa_dissertations/1383
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gdong
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PostPosted: Wed Jun 17, 2015 8:05 am    Post subject: Reply with quote

vialvest wrote:
I also found it interesting that she used to assign the interval exercises in a soft dynamic. Did Carmine do this?


Frink would nearly always have you play all of the Caruso exercises at the most "compact" volume possible. This might mean soft, or it might mean comfortable. But the important training aspect was to formulate the center of the pitch and grow the tone outwards rather than using force and volume to shock the vibration into a "pitch" that was not necessarily centered.

Playing these very compact (or softly) really helps with loud playing. Thompson's buzzing book enforces a similar concept of fostering a hyper-focused aperture and then developing the ability to play with a gigantic sound without blowing it open.
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gdong
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PostPosted: Wed Jun 17, 2015 8:10 am    Post subject: Reply with quote

vialvest wrote:
Seems like she had almost every student do the lips-mouthpiece-horn exercises. I just don't understand how it's helpful. It usually messes me up :p any ideas why she used it so much?


Check out Julie Landsman's youtube videos on the Caruso method. She talks about this exercise quite a bit.

Strive to do it the easiest way possible. If you are tense, stop. The lips, mouthpiece, and horn are and should be three different events. Not three versions of the same action. Also, do a real gliss between notes, take a full breath, and be as gradual as possible.

If it just adds tension to your playing, then there is no need to do it. Frink would certainly not force anyone to do anything that was detrimental to them.
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