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Kevin Good Regular Member
Joined: 08 Oct 2003 Posts: 68
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Posted: Fri Jan 16, 2004 4:46 am Post subject: |
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Sorry, but I just re-read my post and wanted to make one slight correction--
Where I wrote
"Now, don't hate me for saying this, but you go on to describe how much better your
playing and your "head" got when you got away from Vince."
I should have added an "and"
" Again, I believe you--AND-- have no doubt that anyone who heard you would agree."
Not a big difference,(shades of meaning) but I want to mean what I say and say what I mean. Typing is not one of my strong points.
KG |
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Atomlinson Veteran Member
Joined: 21 May 2002 Posts: 327 Location: Somerset England
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Posted: Fri Jan 16, 2004 5:05 am Post subject: |
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Hi Kevin
You can "edit" a post after you've posted it (see Edit logo at bottom of post)...I use it all the time.
Andrew Tomlinson
[ This Message was edited by: Atomlinson on 2004-01-16 08:06 ]
[ This Message was edited by: Atomlinson on 2004-01-16 08:09 ]
[ This Message was edited by: Atomlinson on 2004-01-16 08:09 ]
[ This Message was edited by: Atomlinson on 2004-01-16 08:10 ]
[ This Message was edited by: Atomlinson on 2004-01-16 08:10 ]
[ This Message was edited by: Atomlinson on 2004-01-16 16:55 ]
[ This Message was edited by: Atomlinson on 2004-01-16 17:18 ]
[ This Message was edited by: Atomlinson on 2004-01-17 02:50 ]
[ This Message was edited by: Atomlinson on 2004-01-17 03:09 ] |
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stevewark New Member
Joined: 17 Jan 2004 Posts: 1
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Posted: Sun Jan 18, 2004 2:08 pm Post subject: |
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I suppose the message that Mr Cichowicz stressed the most (to any player fortunate enough to study with him) was to play with a full vibrant sound on any part of the scale. Uniformity is important as we ascend or descend.This type of playing can be heard all over the world by many great players who studied with him. The start of the note was important with V.C and some students were successful with a full relaxed beginning and others were not. Some froze up even more. His concept is good and with most things in life, you need to appreciate the big picture. I studied with Mr Cichowicz for several years but considered Arnold Jacobs to have even a greater influence on my playing. Both had similar ideas but the delivery was different. Both great men. |
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FTee Veteran Member
Joined: 30 Dec 2003 Posts: 455
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Posted: Tue Jan 20, 2004 2:10 pm Post subject: |
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Mr Good,
Sorry about the delay in responding -- I actually have to work for a living outside of music thanks to Mr. Cichowicz. JUST KIDDING! (I hope that last comment doesn't result in some aggrieved VC student beating me to a pulp with a telephone-book sized volume of flow studies.)
I respect the points you make, as well as everyone else's. Suffice it to say that we have differing views on the effectiveness of VC's teaching, and in the interest of not wearing out this discussion topic I will let my earlier comments stand by themselves.
Buona fortuna out there in Detroit.
FTee |
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MidNiteHorn New Member
Joined: 27 Feb 2003 Posts: 9
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Posted: Tue Jan 20, 2004 8:07 pm Post subject: |
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I am not a V.C student but I do have an edition of his Trumpet Flow Studies which was given to me by one of his former students of the late '50's or early '60's and with whom I studied for a while a few years ago. I like V.C.'s approach to trumpet playing and to his pedagogical philosophy. I am a comeback player and I find his Flow Studies excellent for warm-up and general practice. He has a forward in my edition and for those who may not have seen it before I am reproducing it below.
"These studies are an important medium in which to develop a free, flexible production of sound upon which all aspects of trumpet technique depend. It would be a mistake to view them solely as a means to develop finger dexterity. Herbert L. Clarke, who deplored so-called 'long tone ' studies, espoused the practice of material with movement instead of long tones (i.e: Technical Studies) and is the forefather of this concept. These studies are an extension and elaboration of this principle. They are most effective when practiced at moderate speeds, taking care to produce a clear, flexible sound and that the connection of the notes be smooth and without distortion. I view finger dexterity as a collateral benefit rather than the main purpose of these studies. Further benefit may be had by utilizing various articulations and transpositions."
Don Olmsted
Albertville, MN
"He who knows every note more thoroughly understands the effect". |
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riffdawg2000 Heavyweight Member
Joined: 13 May 2003 Posts: 1153 Location: Atlanta, GA
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Posted: Wed Jan 21, 2004 4:22 am Post subject: |
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I know Clarke hated 'long tones' and VC did not recommend them either ... at least on a daily basis ...
But, I feel that there are just times that long tones are meant to be used ..... especially when trying to loosen the lips back up the day after and extremely hard night of playing ...
Thoughts? _________________ Joel Thomas |
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Karel Heavyweight Member
Joined: 20 Dec 2001 Posts: 501 Location: The Netherlands
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Posted: Wed Jan 21, 2004 9:36 am Post subject: |
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Anyone know which equipment VC uses? Does he recommend anything about trumpets and/or mouthpieces to his students?
Karel |
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riffdawg2000 Heavyweight Member
Joined: 13 May 2003 Posts: 1153 Location: Atlanta, GA
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Posted: Wed Jan 21, 2004 10:47 am Post subject: |
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Isn't he endorsed by Selmer?? (i.e. Bach) _________________ Joel Thomas |
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MidNiteHorn New Member
Joined: 27 Feb 2003 Posts: 9
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Posted: Fri Jan 23, 2004 6:28 pm Post subject: |
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I agree, Joel Thomas, long tones are useful. I use them as you suggest and also during warm-up. Long tones also help to develop good sound for the beginner.
Don Olmsted _________________ "He who knows every note more thoroughly understands the effect". |
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Satchel Veteran Member
Joined: 12 Apr 2021 Posts: 115
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