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John Mohan's Comeback Practice Routine Journal



 
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John Mohan
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PostPosted: Sun Mar 25, 2012 11:03 am    Post subject: John Mohan's Comeback Practice Routine Journal Reply with quote

Hi everybody,

As many of you know, about 7 weeks ago I had a rather unfortunate thing happen to my lip. A dentist burned it with what is basically a hot glue gun while performing a root canal on me. OUCH!



On the bright side, it is all healed now and I am back to practicing. Since I have had to go "back to the basics" to get back into shape, I thought I would start a journal of what, how and when I practice to give comeback players a basic guide of what to do to develop their playing abilities as far and as high as they wish.

Though I did pick up the horn and play a note or two pretty much every day, or maybe every few days during the healing process (had to see that I could still play to some level), I completely stopped daily practice for about 5 weeks. Then, I started back by playing about 5 - 10 minutes of Irons flexibilities (Groups 5 and 6 and some extended versions of 5 and 6) every 2 or 3 days, building to the point where I was doing the Irons flexibilites every day. Now I've added a Clarke Study and a Claude Gordon "Systematic Approach" lesson to the brew. My current routine is:

1) The Walking Breathing Exercises that Claude Gordon assigned us. I'm dong 6-Steps, meaning I breath in for 6 steps, hold full for 6 steps, blow out for 6 steps and continue to blow though empty for 6 steps, then repeat the process, all the while making sure I stay relaxed and that my chest is up in a position of good posture. I do this for about 20 minutes (about one mile of walking).

2) "Twenty-Seven Groups of Exercises" by Earl D. Irons, Groups 5, 5B, 6, 6B, and 6C. The groups with letters at the end are my own modification of the normal, unlettered groups - basically there is an exercise at the end of Group 5 that is different than the previous 7 parts of Group 5. In the book, this last thing is only played with one valve combination. My "Group 5B" is basically this last exercise, but through all 7 valve combinations. My 6B is the same - it's the last little exercise of Group 6, but played through all 7 valve combinations as a separate group. Then, 6C, is the same as 6B, but I start one partial higher. Take a look at the book, read my explanation and you'll figure it out.

3) Clarke Technical Study #1 and Etude # 1, all single tongued (which for me, is K-Tongue Modified). If you haven't learned about K-Tongue Modified, do so, and start doing all your tonguing this way. The sooner you do so, the sooner you'll progress to amazing levels. Read about K-Tongue Modifed here under the sections entitled "The Tongue":

https://www.purtle.com/claude-gordon-approach

I am doing each of the Clarke exercises and the respective Etude with one repeat. Volume level is medium (not overblowing, but not holding back either). I get stronger on the higher notes and back off on the lower notes. I take the exercise as high as I can comfortably play them, which for me, means that I take them to where the highest note is a D above High C.

At this point, I make sure to rest at least 45 minutes before doing the next routine.

4) Systematic Approach Lesson 2 Part 1: I take this down to Bb below Double Pedal C (I see no point in going lower). I amke sure to really, really, really blow until even after I am empty to really work the Air Power muscles. Volume level is medium with an attempted crescendo as I run out of air. I don't overblow, but I don't hold back.

Rest 5 minutes

5) Systematic Approach Lesson 2 Part 2: I play these at a tempo of quarter note = 120, and I hold the top notes for about 7 to 9 beats. Stronger on the top notes, easier on the lower notes. I'm always getting to a full power, strong F# above High C. My G above High C has been strong and full power about 50% of the time, and a bit weaker the other 50%. I've gotten to an admittedly weak Double C most days, but sometimes have ended around A above High C.

6) Systematic Approach Part 3 of Lesson 3 to relax lips after the high note routine. This is just a slow arpeggio going from middle C down to Pedal C. I do this three times, resting between each, then I do it one final, fourth time down to Double Pedal C.

That's it. This routine encompasses about 50 to 55 minutes of playing per day (plus 20 minutes for the Breathing Exercises).

As a special note to those of you who might be a bit overly "lip conscious": Even though the wound caused trouble with my tone, and in particular, caused me to have a big problem with air attacks from Low C downward, I was still able to play. In fact, the evening after the injury I played a Double High C just to see if I still could. I still could. I'm sure the situation would have been different if the wound and swelling involved my upper lip or the area that is normally in the mouthpiece cup of either lip, but fortunately that was not the case. But I think it stands to reason that if one can sustain a wound like that on one's lips and still manage to play, it shows that Herbert Clarke and Claude Gordon were both right when they claimed that the lips do not play the instrument and their only purpose is to vibrate.

Something I am realizing as I make my comeback: It is very easy to over-practice, and I think I often have in the past. I'm really taking it easy with lots of resting between exercises and parts of the routine, and it is making a big difference. Everything just seems easier as I play now.

And one last change: Though I don't guarantee I stay with them, since returning to playing I have switched to smaller mouthpieces. I am now using mouthpieces with Reeves 42 rims. I started out practicing my full routine a few days ago on a Reeves 42S. I’ve never been able to play on such a small mouthpiece in the past – usually it only works for about 2 minutes, but now I can play through my whole routine on it. Then yesterday I switched to a Reeves 42M, and though it's pretty bright, I can play it, where just as with the 42S, I have never been able to play something so small before. Today I will probably do the routine on a 42C and stay with that for general practice and playing.

My theory is that since I took more than a month off the horn, the marks, calluses, and normal swollen spot in my upper lip from the larger mouthpieces I normally play has disappeared, making it possible for me to switch to something smaller. In the past, whenever I tried to move down to a Reeves 42 rim I quickly gave up as it felt too small and I had too much trouble with getting air attacks on it. But so far, now that I moved to it with a pair of "fresh lips" it seems to be working. It definitely takes less physical effort in the upper register than the Mt Vernon Bach 3C I was playing. The sound might not be quite as "big" in the low and mid registers - but I think the sound's as "big" as I'll ever need. So maybe I'll stay with it (the 42 rim). Time will tell.

Best wishes,

John Mohan
https://www.purtle.com/how-i-became-a-student-of-claude-gordon-by-john-mohan
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Comeback
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PostPosted: Sun Mar 25, 2012 3:01 pm    Post subject: Anomaly in Comeback Land Reply with quote

Welcome to the Comeback Players area, John. I have been loosely following the story of your injury and progress in coming back. Best wishes to you! Your journal will surely be helpful to many of us.

Jim
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spitvalve
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PostPosted: Sun Mar 25, 2012 3:33 pm    Post subject: Reply with quote

Since you lost a month's worth of gigs, I hope your dentist reduced/eliminated your bill for the root canal.
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John Mohan
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PostPosted: Mon Mar 26, 2012 10:15 am    Post subject: Reply with quote

No problems there, as I didn't lose any work. I retired from full time professional playing back in 2004 with the end of the Euro Tour of the musical "Grease" that I was on. The last big thing I did was the audition for Principal Trumpet of the Chicago Symphony Orchestra back in the Fall of 2004 (they liked Chris Martin better).

I never stopped playing completely, but got to the point where I just played during students' lessons on occasion and maybe did some Irons Flexibilities, Clarkes, and/or a Systematic Approach set once or twice every week or two just to be sure I didn't lose the feel of it.

In January of 2011 I decided to start practicing on a fairly serious level again with the plan to rejoin the Union and seek work again when I felt completely ready (first impressions count, whether as a kid or when returning to the field after a long break). As of a few months ago, I pretty much had my sound, technique, range, and endurance up to where they needed to be. The last part of my planned "comeback" was to be working up my sightreading to professional levels again, and also getting my improvisation beyond where it had been (I would call myself a "survival ad libber" - I could get by but I wasn't going to impress anyone).

Well, the burn on my lip threw a bit of a monkey wrench into the process, didn't it? My endurance is gone - not worried, as that is just a matter of building up strength again - but it's not going to happen overnight. Sound, flexibility, articulation and technique are in good shape (Sound took a few days to come back, but the other things never seemed to leave).

I figure it's going to take me at least a few months to slowly build my endurance up again (you can't build up any faster than nature will allow). Then as I can increase my routine, I'll start working on sight-reading and finally add improve (Aebersold) to the mix. I’ll probably check out the stuff that Eric Bolvin offers in that area as well.

I do have my traditional Easter Gig at a local church coming up. $250 is $250...

All in all I'm just happy to be able to play and develop again without any lasting physical effects from the wound. I'm not all that upset about the lost time - it's a great advantage that even after all the years I've put into the horn, I still actually enjoy playing my routines and developing my ability. As Cervantes wrote, "The road is better than the inn."

Best wishes,

John
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John Mohan
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PostPosted: Wed Mar 28, 2012 9:00 am    Post subject: Reply with quote

It's feeling good. Real good!

In particular, I think the reduced amount of playing in this routine is very, very good for me. I'm only doing about 7 minutes of flexibilities (barely a warm up), then after a good rest, the Clarke #1 just takes under 10 minutes. Again, another long rest, then the two Systematic Approach exercises combine to a total of less than a half hour of playing (with a 15 minute between them).

I always feel fresh, everything works with ease, and it's all just plain fun.

This routine works.

Best wishes,

John
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John Mohan
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PostPosted: Sun Apr 15, 2012 7:22 am    Post subject: Reply with quote

Okay, time for an update.

All is going well. Technique, sound and range are all in good, pro-level shape at this point. Two things are lagging behind: Endurance and Sight-reading. I find that when I pull out the book from a show, unless I am still intimately familiar with a particular line or part of a song, if I am actually reading the music, it ain't good! Truly, if you don't use it, you lose it. I'm not really worried though, because as I add more playing to my routine (slowly and systematically), I'll be incorporating sight-reading into it. It'll come back. And so will the endurance.

I had a fairly demanding Easter job with pieces by Bach and Beethoven thrown into the mix. The Beethoven one was a haul - two pages of Piccolo Trumpet with just 2 bars of rest on the first page and 6 bars of rest on the second page. Ouch! I got through it, and while it was perhaps a little rougher than it should have been (and "rough" is generally something we all want to avoid while playing Piccolo Trumpet in a Church service), at least I didn't faint, and I didn't wig out by the end of it. But I'll be glad when I have full endurance again!

I've progressed my daily routine a bit. My current routine is:

1) The Walking Breathing Exercises that Claude Gordon assigned us. I'm doing 7-Steps, meaning I breath in for 7 steps, hold full for 7 steps, blow out for 7 steps and continue to blow though empty for 7 steps, then repeat the process, all the while making sure I stay relaxed and that my chest is up in a position of good posture. I do this for about 20 minutes (about one mile of walking). And I do find that after about 10 minutes of the exercise, I'm feeling oxygen starved, so I have to drop down to the 6-Steps level for the remainder of the exercise. Hey, I am 50 now...

2) "Twenty-Seven Groups of Exercises" by Earl D. Irons, Groups 5, 5B, 6, 6B, 6C and 7. The groups with letters at the end are my own modification of the normal, unlettered groups - basically there is an exercise at the end of Group 5 that is different than the previous 7 parts of Group 5. In the book, this last thing is only played with one valve combination. My "Group 5B" is basically this last exercise, but through all 7 valve combinations. My 6B is the same - it's the last little exercise of Group 6, but played through all 7 valve combinations as a separate group. Then, 6C, is the same as 6B, but I start one partial higher. Take a look at the book, read my explanation and you'll figure it out.

3) Clarke Technical Study #1 and Etude # 1, all K-Tongued.
I am doing each of the Clarke exercises and the respective Etude with one repeat. Volume level is medium (not over-blowing, but not holding back either). I get stronger on the higher notes and back off on the lower notes. I take the exercise as high as I can comfortably play them, which for me, means that I take them to where the highest note is a D above High C.

At this point, I make sure to rest at least 45 minutes before doing the next routine.

4) Systematic Approach Lesson 3 Part 1: I take this down to Bb below Double Pedal C (I see no point in going lower). I make sure to really, really, really blow until even after I am empty to really work the Air Power muscles. Volume level is medium with an attempted crescendo as I run out of air. I don't over-blow, but I don't hold back.

Rest 5 minutes

5) Systematic Approach Lesson 3 Part 2: I play these at a tempo of quarter note = 120, and I hold the top notes for about 7 to 9 beats. Stronger on the top notes, easier on the lower notes. I'm always getting to a full power, strong F# above High C. My G above High C has been strong and full power about 50% of the time, and a bit weaker the other 50%. I've gotten to an admittedly weak Double C most days, but sometimes have ended around A above High C.

6) Systematic Approach Part 3 of Lesson 3 to relax lips after the high note routine. This is just a slow arpeggio going from middle C down to Pedal C. I do this three times, resting between each, then I do it one final, fourth time down to Double Pedal C.


Due to the difference in the Systematic Approach Part 1 exercise and the slightly slower tempo on the Clarke since I'm K-tonguing, this has added about 15 minutes to my daily routine.

Best wishes,

John Mohan
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TupeloCOTA
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PostPosted: Mon Apr 16, 2012 7:18 am    Post subject: Reply with quote

John,
What kind of tempo are you doing on the Irons exercises? I started doing these along with DTR (on Ex 11 right now). My practice is pretty inconsistent since I am pretty busy at work, but I am trying to hit Irons and DTR every day. This seems to keep my chops in reasonable shape.
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PostPosted: Tue Apr 17, 2012 11:03 am    Post subject: Reply with quote

I do Group 5 (it's a half note group) at about 180bpm (think of them as fast half notes or slow quarter notes).

I do Group 6 at about the same relative tempo considering Group 6 is composed of quarter notes (about 90 bpm).

I speed up a bit for Groups 7 onward, doing the eighth note Groups at about 150 bpm and the sixteenth note Groups at about 75 bpm.

Keep in mind I've been doing these for more than thirty years. When I started out on them I played them much slower until they became smooth and easy. At this point I could play them much faster than I do. But I like to think of them as "singing" exercises, and pay attention to my sound and tone. Can't do that if I rush 'em!

And yes, even if you can just do ten minutes of playing, spending that time doing Flexibilities (with perhaps some articulations as well) is the best way to spend that time. You won't build endurance, but you maintain the feel and keep a certain amount of endurance (I think one of the major keys to endurance is simply playing correctly).

Best wishes,

John Mohan
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TupeloCOTA
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PostPosted: Tue Apr 17, 2012 11:37 am    Post subject: Reply with quote

Thanks John,
I have been doing them as fast as I can play them cleanly. The lower ones (F#s) seem to be the harder parts. I copied your routine and this has been a great help in keeping up my chops. I try to make it the one thing I get done if I can't do any more. Seems to be doing the trick. Kind of like a daily workout
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John Mohan
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PostPosted: Wed Apr 18, 2012 7:01 am    Post subject: Reply with quote

TupeloCOTA wrote:
Thanks John,
I have been doing them as fast as I can play them cleanly. The lower ones (F#s) seem to be the harder parts. I copied your routine and this has been a great help in keeping up my chops. I try to make it the one thing I get done if I can't do any more. Seems to be doing the trick. Kind of like a daily workout


You're very welcome!

You cannot play those Irons exercises too slowly, but you can play them too fast. I recommend you slow down a bit, especially on the lower ones. You'll develop the feel of how to play those low F#'s quicker if you play them slower (one of life's dichotomies). Also, you want to play them slow enough that you can hear how your tone sounds as you play them.

When I was young, I didn't pay close enough attention to my sound when doing Flexibilities. All of a sudden (not really all of a sudden...) I realized I had a really airy tone - but only when I played Flexibilities or was slurring notes that were several steps apart while playing music. I had not paid enough attention to my sound for a long time, and little by little, it had caught up to me. There was no quick cure for the situation (there never is). But by slowing the exercises down, and perhaps even more importantly, by paying attention to how I sounded, with time and correct practice, my tone cleaned up and the airiness went away and has stayed away.

Best wishes,

John
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John Mohan
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PostPosted: Sun Apr 29, 2012 9:25 am    Post subject: Reply with quote

Update!

Though I didn't practice my full routine every day since last posting, I practiced the whole thing about 80% of the days - and on all but one of those other days I played at least through the Irons and Clarkes. And the results of this fairly consistent practice are good! My G above High C is completely consistent at this point. It's become an "any time - anywhere" note that I can play full power (or softly) even at the end of a taxing practice session. And I'm reaching somewhere between Bb above High C and Double C every time I do the Systematic Approach Part 2 range routine.

More importantly, my over all playing has become so easy again. My consistency is very good, and I have no problems with articulations on trickier passages, even with the fairly small 43C I am playing (quite often in the past when playing shows and stuff, I'd switch to bigger mouthpieces to handle spots with intricate and/or multiple tonguing). Now I'm finding that when I run through some of the trickier excerpts from shows that have given me trouble in the past, I can play them cleanly and consistently even on the 43C. (A Bob Reeves 43C is about the size of a slightly shallow Bach 3C).

I guess the best part is the mouthpiece just feels so comfortable again on my face (it's not that it's the particular mouthpiece it is, I think it's just that consistent every-day, correct practice is paying off).

My current routine is now:

1) The Walking Breathing Exercises that Claude Gordon assigned us. I'm doing 7-Steps, meaning I breath in for 7 steps, hold full for 7 steps, blow out for 7 steps and continue to blow though empty for 7 steps, then repeat the process, all the while making sure I stay relaxed and that my chest is up in a position of good posture. I do this for about 20 minutes (about one mile of walking). And I do find that after about 10 minutes of the exercise, I'm feeling oxygen starved, so I have to drop down to the 6-Steps level for the remainder of the exercise. Hey, I am 50 now...

2) "Twenty-Seven Groups of Exercises" by Earl D. Irons, Groups 5, 5B, 6, 6B, 6C, 7, 8, 9 and 10. (I actually added Groups 8 and 9 about a week and a half ago). The groups with letters at the end are my own modification of the normal, unlettered groups - basically there is an exercise at the end of Group 5 that is different than the previous 7 parts of Group 5. In the book, this last thing is only played with one valve combination. My "Group 5B" is basically this last exercise, but through all 7 valve combinations. My 6B is the same - it's the last little exercise of Group 6, but played through all 7 valve combinations as a separate group. Then, 6C, is the same as 6B, but I start one partial higher. Take a look at the book, read my explanation and you'll figure it out.

3) Clarke Technical Study #1 and Etude # 1, all Double-Tongued. The K-Tonguing I spent the last few weeks on really came back up to par - while I think one can still tell a slight difference between my normal (KTM) single tonguing and my K-tonguing, it's getting close. That said, it sure will be nice to be double-tonguing them now!!! I am doing each of the Clarke exercises and the respective Etude with one repeat. Volume level is medium (not over-blowing, but not holding back either). I get stronger on the higher notes and back off on the lower notes. I take the exercise as high as I can comfortably play them, which for me, means that I take them to where the highest note is a D above High C.

At this point, I make sure to rest at least 45 minutes before doing the next routine (though sometimes I don't have the time to rest that long - and when I don't rest enough, it takes a few notes off the top of the Part 2 Section of Systematic Approach).

4) Systematic Approach Lesson 4 Part 1: I take this down to Bb below Double Pedal C (I see no point in going lower). I make sure to really, really, really blow until even after I am empty to really work the Air Power muscles. Volume level is medium with an attempted crescendo as I run out of air. I don't over-blow, but I don't hold back.

Rest 5 - 15 minutes. Though I used to rest only 5 minutes at this point because Claude told me that was really enough, I'm now usually resting longer at this point than I used to. Sometimes now I'll even put a half hour or more of rest between the Part 1 and the Part 2 sections of SA.

5) Systematic Approach Lesson 4 Part 2: I play these at a tempo of quarter note = 120, and I hold the top notes for about 7 to 9 beats. Stronger on the top notes, easier on the lower notes. At this point I'm always getting to a full power, strong G or G# above High C and I reach at least Bb above High C every time I do this exercise. My G above High C is now strong and totally consistant, and I find that I can play it full power, or softly any time I want now - even at the end of a taxing practice routine.

6) Systematic Approach Part 3 of Lesson 3 to relax lips after the high note routine. This is just a slow arpeggio going from middle C down to Pedal C. I do this three times, resting between each, then I do it one final, fourth time down to Double Pedal C.

At least one hour of rest.

7) Time and endurance permitting, I am now going to start practicing show music at the end of my routine each day. I'm starting with WSS. Probably just 5 to 10 minutes a day at first, with a slow build-up.

Best wishes,

John
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John Mohan
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PostPosted: Sat May 19, 2012 1:32 pm    Post subject: Four Steps Forward and Three Steps Back Reply with quote

Dang it!

During the past week I got real busy with other work and I have completely neglected my trumpet practice. I didn't play at all for three or four days (other than one double C at around 11pm the night before last just to make sure I still could - I'm sure the neighbors loved that one!), and then finally, I played just Irons Groups 5 through 7 last night to start to get back into the swing of things. It felt like I was using someone else s lips for about the first 5 minutes - and then for the remaining 5 minutes, though it felt like my lips again, it felt like my tired lips.

This is bad. I've got to put together a demo of my playing for an upcoming show and I need to submit it within the next 3 weeks. And it's got to include some pretty hairy stuff. Dang it!

Today I'll play Irons Groups 5 through wherever I start to feel tired (probably around Group 8 or 9), then a lot of rest, then Clarke #1 KTM.

I'll do that for a few days, then add Systematic when I feel ready. At some point I've got to work up some excerpts from various shows to demo. Nothing I haven't played before, but a lot of it I haven't played in ten years. So a bit of practice is in order.

All for now,

John
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Jerryr
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PostPosted: Tue Nov 20, 2012 5:38 pm    Post subject: hamburger lips Reply with quote

Have been reading some of the posts on how to train the lips for the high notes,etc. My trouble comes when I play too long and the next day my bottom lip feels like hamburger inside. I don't realize it til it,s too late. Is there any way to toughen up that part of the lip?? Probably a crazy question but... It some times keeps me from playing a couple days til it can heal up. I,ve never heard any comments on this. Thanks for your answer to this. Jerry Boyd
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John Mohan
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PostPosted: Thu Mar 21, 2013 9:04 am    Post subject: Reply with quote

Sorry it took me so long to reply Jerry! Hopefully you still participate in the TH.

Yes, with time your lips will "toughen up". Actually, I have a theory that in a way the opposite occurs - I think that lots and lots of practice actually tenderizes the vibrating area of the lip, making soft articulations, high notes and everything else easier.

Whatever is occurring, the key is to slowly build up - don't tear down (and yes, those familiar with Claude Gordon's writings will know I just quoted him or at least closely paraphrased what he's written in one of his books).

Best wishes,

John Mohan
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