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JoshMizruchi Heavyweight Member
Joined: 29 Mar 2005 Posts: 603 Location: Newark, NJ
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Posted: Fri Oct 17, 2008 2:55 pm Post subject: Pivot stabilizer question |
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This drill has REALLY helped me. I am so thankful for it. But I'm curious at what dynamic it should be played, it doesn't seem to say in the book. I'm playing it about MF right now. But maybe soft would be better? I'm just trying to be consistent about it.
Thanks,
Josh |
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Doug Elliott Heavyweight Member
Joined: 10 Oct 2006 Posts: 1172 Location: Silver Spring, MD
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Posted: Fri Oct 17, 2008 3:17 pm Post subject: |
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The original had decrescendos to the lower notes and crescendos to the higher notes. I would suggest starting at mf, decrescendo to p for the bottom note and crescendo to f for the top note. This method keeps the aperture size close to the same for all of the notes. It keeps you from blowing too far open on the low note.
You need enough volume to feel a good center on each note; if it's too soft you may not be solidly locking onto each note. |
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BeboppinFool Donald Reinhardt Forum Moderator
Joined: 28 Dec 2001 Posts: 6437 Location: AVL|NC|USA
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Posted: Sat Oct 18, 2008 7:38 am Post subject: |
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Doug Elliott wrote: | The original had decrescendos to the lower notes and crescendos to the higher notes. |
I just went and looked at my original handout from Reinhardt, and here it is:
It has mf under it . . . looks like I forgot to put that under the Stabilizer in The Reinhardt Routines. My mistake!
In the text above the Pivot Stabilizer in The Reinhardt Routines, (point #6), the following instructions appear:
Dr. Donald S. Reinhardt wrote: | 6. Because the lip aperture (the space blown open) is approximately the same size for a pianissimo third space C as it is for a forte second leger line above the staff high C, it is obvious that it is both mechanically and musically correct to crescendo while ascending and decrescendo while descending. Remember, the longer the ascending slurred interval, the “thinner” the lower note must be. |
That was point #7 on my original handout, by the way, and there was one more sentence: THIS RULE IS VITAL!
At the end of point #6 in The Reinhardt Routines appears this sentence: This principle is vital in order to teach your embouchure “aperture control.”
Anyway, that point (6 or 7, depending on what you're looking at) talks about decrescendo and crescendo, but there are no "hairpins" on the notated drill. He just wanted to make sure you kept your aperture roughly the same size for both notes, and that requires playing the lower note softer than the higher note.
By the way, anybody who hasn't been typed (complete with a Pivot Deviation sheet) should pay no attention to those arrows in the image above. (Fair warning!) _________________ Puttin’ On The Ritz |
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JoshMizruchi Heavyweight Member
Joined: 29 Mar 2005 Posts: 603 Location: Newark, NJ
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Posted: Sun Oct 19, 2008 10:07 pm Post subject: |
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Rich,
Thanks!!! You always help me by posting stuff Doc actually wrote. I think the dynamic there as MF is probably common sense actually, because if you played it loud you'd spread, and too soft as Doug said the notes wouldn't lock in. But I'm glad to have it confirmed.
Thanks,
Josh |
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skip62 Regular Member
Joined: 23 Mar 2008 Posts: 15 Location: Berlin, Germany
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Posted: Tue Jul 06, 2021 1:13 am Post subject: |
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By the way, anybody who hasn't been typed (complete with a Pivot Deviation sheet) should pay no attention to those arrows in the image above. (Fair warning!)[/quote]
Thanks for the warning, I was wondering about that. Where can one find the pivot deviation sheet ? _________________ If you can't help 'em, don't hurt 'em. |
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