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Pipe Organ/ Lynn Nicholson



 
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ENelson
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PostPosted: Sat Dec 23, 2017 11:37 pm    Post subject: Pipe Organ/ Lynn Nicholson Reply with quote

Hi!

I'd appreciate it if someone who studied with Doc could point out the similarities and differences between Lynn Nicholson's compression explanation and Doc's "Pipe organ" analogy that I've read about in the Encyclopedia.

https://youtu.be/WwIdCzOccJU

I thought Lynn's presentation was very good and Doc's pipe organ came to mind immediately. Lynn, however, does not get inte WHY each pitch has a corresponding compression.

A quick search of the Reinhardt forum yielded no results for "pipe organ". Is this because Doc didn't use the analogy on a regular basis?

Thanks for your thoughts on this!
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bach_again
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PostPosted: Mon Jan 08, 2018 9:50 am    Post subject: Reply with quote

Are you talking about Doc referring to different resonating chambers? Not sure I recall a pipe organ analogy... I'll go back to the Encyclopaedia and see. I think I read something Rich Willey wrote about the resonant chambers of the instrument, perhaps in one of his books. I'll have a look and see, but I'd prefer Rich answered as he is much more knowledgeable than me.
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ENelson
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PostPosted: Mon Jan 08, 2018 11:31 am    Post subject: Pipe Organ/ Lynn Nicholson Reply with quote

Sorry, I should have referenced the Encyclopedia in my original post.

Chapter 3
5. What is the "pipe organ" breathing illustration and why is it used in the PIVOT SYSTEM manual?

P. 35 in my edition.
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PostPosted: Mon Jan 08, 2018 6:50 pm    Post subject: Re: Pipe Organ/ Lynn Nicholson Reply with quote

ENelson wrote:
Sorry, I should have referenced the Encyclopedia in my original post.

Chapter 3
5. What is the "pipe organ" breathing illustration and why is it used in the PIVOT SYSTEM manual?

P. 35 in my edition.

I don't recall Doc ever mentioning this in my lessons. He did talk about the "tube of toothpaste" illustration where you empty your air reservoir by "squeezing it out" from the bottom up like you do with your toothpaste tube. (Now, I understand that there *are* wives and such who squeeze the tube from the middle, but let's not go there.)



I hope somebody pipes up with the answer to this question (get it?). Thanks for asking it!

I do have an old copy of the Manual and will look it up next time I think about it whilst in my basement.
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Mac Gollehon
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PostPosted: Tue Jan 09, 2018 9:37 am    Post subject: Reply with quote

What I know of the pipe organ breathing in relation to Doc Reinhardt is that it was used to describe a coordination of the diaphragm and abdominal region while manipulating the tongue arch level in relation to descending and ascending in playing register. It is to engage awareness of of a longer air column and a shorter air column. The longer air column being the lower level of the abs and diaphragm combine with a lower tounge arch . With the shorter air column the diaphragm and abs move inward and upward like a lift combined with higher tongue arch and even sometimes to roof of mouth depending on player intent. Nevertheless both compression techniques should observe origin from pelvic floor. The tongue arch closer to roof of mouth in upper register gives more air pressure to impose air thru a smaller space. Higher pitch -more air pressure-less air mass. Lower pitch-less air pressure- more air mass. Longer pipe is an air column concept that large opening in the pipe includes the space between tongue and roof of mouth. Longer pipe -lower tone. The shorter pipe -smaller opening in pipe-less distance between tongue and roof of mouth. It is again a coordination of air compression and tongue compression without having to think about lip aperture as much. Just an explanation that has worked for many but certainly not the one and only way to successful playing to be decided by individual intent.
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PostPosted: Tue Jan 09, 2018 1:00 pm    Post subject: Re: Pipe Organ/ Lynn Nicholson Reply with quote

ENelson wrote:
Sorry, I should have referenced the Encyclopedia in my original post.

Chapter 3
5. What is the "pipe organ" breathing illustration and why is it used in the PIVOT SYSTEM manual?

P. 35 in my edition.

Okay, here you go (I broke one paragraph into four to make it easier to read):

On pp.5–6 in his Pivot System, The Complete Manual With Studies, Donald S. Reinhardt wrote:
Now compare your breathing apparatus to a pipe organ. The longer the pipe and the larger the opening, the lower the note; as the pipes become shorter and the openings smaller, the pitch becomes higher. Therefore, the lower the notes you play, the longer the air column; and the higher you play the shorter the air column. This may clarify the comparison of the human breathing system to the pipe organ.

In our brass playing for the lower register, from the G descending on the trumpet (and from the F descending on the trombone) you should make your inhalation a normal deep breath, slightly protruding the entire abdominal region. You should take care at this point not to misunderstand me, as I naturally mean the inhalation should be as relaxed as possible.

In other words, for the lower register you should think of relaxation in general, but if the passage is extremely fortissimo, your diaphragm becomes more rigid and tense. As the note is held, the abdomen moves in an inward direction until the air has been completely expelled from the lungs.

I repeat, when the position of the abdomen is set before starting to play, it is locked by tensing it. With this “locked,” tense position, great air pressure can cause you to feel as though you are leaning against it. This is correct. This “locking”of the diaphragm when you start to play is true of any register, but the difference is that the air level is at a different point.

Since you have the reference in the Encyclopedia, maybe now this will answer your questions?
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ENelson
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PostPosted: Tue Jan 09, 2018 1:34 pm    Post subject: Reply with quote

Thanks for the replies!

So, as for Lynn Nicholson's ideas - here's another video demonstrating his diaphragm movement.

https://youtu.be/fviXbWYvaZc

I think Lynn does a great job demonstrating his concept.

Do you think Lynn is demonstrating the same ideas that Doc was thinking of or are there some important differences regarding, for instance, the amount of air in the air column? (Nicholson - strong notes high notes can be accomplished with very little air if the compression is correct.)

Lynn mentions the tongue in this particular video, but points out that it is not enough to focus only on the tongue, which seems to reflect Doc's point of view, as well.

Obviously, Lynn's playing speaks for itself, but I'm wondering if he has also given us a demonstration of Reinhardt's ideas in action.
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ENelson
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PostPosted: Tue Jan 09, 2018 1:41 pm    Post subject: Re: Pipe Organ/ Lynn Nicholson Reply with quote

Quote:

I repeat, when the position of the abdomen is set before starting to play, it is locked by tensing it. With this “locked,” tense position, great air pressure can cause you to feel as though you are leaning against it. This is correct. This “locking”of the diaphragm when you start to play is true of any register, but the difference is that the air level is at a different point.


Thanks, Rich. This seems to answer the question! I think this text corresponds very nicely with Lynn's video.

If anyone has anything to add, please chime in!
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