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juanc Veteran Member
Joined: 05 Sep 2012 Posts: 117 Location: Greenville, SC
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Posted: Sat Dec 21, 2013 8:54 am Post subject: |
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Ok, I'll see what's more effective for me. I had started this method several times in the past, but every time Caruso's exercises seems to harm my playing. Now I fixed some issues with my embouchure and restarted again and I feel what you're talking about. Maybe Caruso isn't that effective if the embouchure is not properly develop. Now I'm starting to feeling some "magic" for the first time. Regards, Juan _________________ Schagerl "James Morrison"
Yamaha 6310Z |
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gennaro Veteran Member
Joined: 13 Jun 2005 Posts: 151 Location: italy
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Posted: Wed Jan 01, 2014 3:00 am Post subject: |
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it harms when overdue.... and it is very easy to exagerate.... less is the best should be your mantra... and yes: if the embrochure has already some degree of development the method as presented here works with lower risk... for not yet developed condition the exercise should be customized expecially in timing (when introduce what). My personal experience with Laurie Frink.
Regards
Gennaro |
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cpedersen Regular Member
Joined: 20 Dec 2009 Posts: 12
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Posted: Fri Feb 28, 2014 10:50 am Post subject: |
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Maybe this is chiming in quite late, and isn't strictly about Carmine's 6 notes.
Working with Laurie Frink, we took any given exercise and after 3 or so weeks made a small modification, eventually cycling through as maybe possibilities or variations as we could conceive.
In my last lesson with her before her passing, I hadn't seen her in about a year, and had made small 'next possible' changes to the exercises throughout the year, until many of the exercises were very different. She mentioned that I was on the right track.
I was sure glad for that last lesson, because it validated a core point about her teaching, (and possibly Carmine's): Slightly different things yield slightly different results.
If it's about coordinating different things, then there is no 'right or wrong' place to place the breath, instead variables that can be coordinated. If one of these breath placements is harder than the other, it can only help my playing to spend time with it.
Lately I've been asking myself..."What if?". In this case, the potential gain outweighs the risks. I'm not going to destroy my playing by changing where the breath attack goes, but I could learn to coordinate something new.
Thanks for giving me a new variation, I'm going to try this for a long while. |
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Paul Tomashefsky Heavyweight Member
Joined: 04 Nov 2004 Posts: 733 Location: Worcester, MA
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Posted: Fri Feb 28, 2014 11:26 am Post subject: 6 Notes inquiry |
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When I studied with Laurie in 2006 I was having a lot of problems with stiffness and lack of Flexibility at the end of the day (in my private teaching studio) after having done an entire day of teaching Elementary aged brass kids. Her observation was I was overcompensating (opening up embouchure too much) to play "Flat" to match my kids intonation. After doing some of her bending exercises and Flexando studies, things back into focus and my flexibility got back to normal. By the way in her giving me the 6 notes it was B T T (Breath Tongue Tongue).
The other issue I had (because the 6 notes were originally taught to me by my high school Trumpet teacher) was while keeping the mouthpiece on the chops can you release corner tension? I had been told earlier that you needed to keep corners firm. Upon studying with Laurie, she said it was not to be done as an "Isometric" kind of thing (that you could release corner tension . . . but that you had to leave the mouthpiece setting on . . . Any thoughts on this one? _________________ "Life Beats down and CRUSHES the soul, and Art reminds you that you have one" Stella Adler
"Music washes away the Dust of Everyday Life"
Art Blakey
"If you practice...It will come" Field of Trumpet Dreams |
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mcgovnor Heavyweight Member
Joined: 19 Aug 2003 Posts: 2607 Location: ny ny
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Posted: Fri Feb 28, 2014 11:56 am Post subject: .. |
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yes. |
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PH Bill Adam/Carmine Caruso Forum Moderator
Joined: 26 Nov 2001 Posts: 5860 Location: New Albany, Indiana
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Posted: Fri Feb 28, 2014 12:00 pm Post subject: |
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It is fine to relax the tension as long as you don't change the mouthpiece placement on the lips or the position of the lips inside the mouthpiece (and relative to one another). _________________ Bach trumpet artist-clinician
Clinical Professor of Jazz Trumpet, University of Illinois
Professor Emeritus of Jazz Studies, Indiana University Jacobs School of Music
Faculty Jamey Aebersold Jazz Workshops 1976-2019
JazzRetreats.com |
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Paul Tomashefsky Heavyweight Member
Joined: 04 Nov 2004 Posts: 733 Location: Worcester, MA
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Posted: Fri Feb 28, 2014 12:28 pm Post subject: |
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Thanks for the feedback! _________________ "Life Beats down and CRUSHES the soul, and Art reminds you that you have one" Stella Adler
"Music washes away the Dust of Everyday Life"
Art Blakey
"If you practice...It will come" Field of Trumpet Dreams |
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razeontherock Heavyweight Member
Joined: 05 Jun 2004 Posts: 10609 Location: The land of GR and Getzen
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Posted: Fri Feb 28, 2014 1:49 pm Post subject: |
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PH wrote: | It is fine to relax the tension as long as you don't change the mouthpiece placement on the lips or the position of the lips inside the mouthpiece (and relative to one another). |
This is yet another case of how very different teachers and methods will (at least sometimes) share some common ground that is very significant. Ridding our playing of excess tension is fairly central to many a great teacher's approach, and it has great results no matter how we come by it ...
This might make for an interesting discussion in the pedagogy folder? |
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