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Embouchure changing



 
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JUD
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Joined: 17 Apr 2007
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Location: somewhere in the bahamas

PostPosted: Sun Mar 27, 2016 11:34 am    Post subject: Embouchure changing Reply with quote

Hi guys

Something i have noticed while doing the seconds, is that at around the high d mark my embouchure changes to more of an upstream setting. Feels very easy. Like falsetto. Can get up to double high c doing that

My normal range cuts off at high g above c.

Is it worth exploring and not worrying about the change?

Cheers

Jud
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HERMOKIWI
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PostPosted: Sun Mar 27, 2016 1:05 pm    Post subject: Reply with quote

If it works it isn't broken and doesn't need fixing.
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abontrumpet
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PostPosted: Sun Mar 27, 2016 1:41 pm    Post subject: Reply with quote

Like HERMOKIWI says, don't analyze it if it works. Just go for the sound and the rest will follow.
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mark61
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PostPosted: Sun Mar 27, 2016 2:10 pm    Post subject: Reply with quote

Trying to figure out what you mean be "seconds" ?

Thanks
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bach_again
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PostPosted: Sun Mar 27, 2016 2:17 pm    Post subject: Reply with quote

mark61 wrote:
Trying to figure out what you mean be "seconds" ?

Thanks


You're in the Caruso forum.... The seconds exercise prescribed in his book called musical calisthenics for brass.
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lmaraya
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Joined: 12 Dec 2005
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PostPosted: Sun Mar 27, 2016 2:56 pm    Post subject: Re: Embouchure changing Reply with quote

JUD wrote:
Hi guys

My normal range cuts off at high g above c.

Jud


Does your lower lip tuck in (roll in) behind the upper lip around this note? Many years ago I noticed that I did exactly that, and that was the limit of my range. However, my range increased to a double C when I started keeping both lips aligned. Hope it helps.
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PH
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Joined: 26 Nov 2001
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Location: New Albany, Indiana

PostPosted: Sun Mar 27, 2016 3:10 pm    Post subject: Reply with quote

One of the core principles of Carmine's teachings is that you do not think about how your embouchure works and you do not manipulate your embouchure or "fix" anything with your conscious mind. Do the calisthenics. Focus on following the Four Rules. Do not do anything beyond that.

You may observe how things work in a detached observational way. If the approach you are describing is more efficient then it will eventually be the way you play all of the time. If it isn't more effective then your unconscious mind will try it and file it away under things to avoid. Some people call this an indirect method. When you're playing in a musical context you DO NOT consciously try to apply the progress made in calisthenic practice. Do the exercises every day and focus on the Four Rules during CC practice.
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Martinharris
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PostPosted: Sun Mar 27, 2016 4:47 pm    Post subject: Reply with quote

Depends if your sound is good enough with the upstream set.
You NEED good sound, low register, flexibility and never change embouchure.
It might be that your upstream set lacks flexibility, low register and sound in which case just work on getting your normal set better.
Having said that, experimentation is good for you so feel free to experiment with both sets a lot.
All the best, Martin
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PH
Bill Adam/Carmine Caruso Forum Moderator


Joined: 26 Nov 2001
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Location: New Albany, Indiana

PostPosted: Sun Mar 27, 2016 6:11 pm    Post subject: Reply with quote

Martinharris wrote:
Depends if your sound is good enough with the upstream set.
You NEED good sound, low register, flexibility and never change embouchure.
It might be that your upstream set lacks flexibility, low register and sound in which case just work on getting your normal set better.
Having said that, experimentation is good for you so feel free to experiment with both sets a lot.
All the best, Martin


In another context, I would agree. But this is the CARUSO FORUM and Martin's well intentioned comments (and others prior) are against the approach and philosophy of Carmine and his students. My answer above is pretty definitive regarding Carmine's teachings.
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gstump
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PostPosted: Mon Mar 28, 2016 11:07 am    Post subject: Reply with quote

Like PH said.
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