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Jaw04 Heavyweight Member
Joined: 31 Dec 2015 Posts: 897 Location: California
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Posted: Tue Feb 02, 2016 3:32 am Post subject: Advice from Reinhardt folks |
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Over the past 7 months or so, I've been rethinking the way I approach trumpet and I've had some great results. My range and accuracy has improved by concentrating on my embouchure set up, corner firmness, and free buzzing. Much of this has come about from online research, checking out some of the literature out there including Reinhardt's Encyclopedia of the Pivot System, and experimenting on my own.
I'm happy with my progress, but I've noticed my center of pitch and resonance is a little inconsistent. When I play with a drone or tuner, I find I tend to ride high on the pitch. My sound doesn't lock in unless I change my set up. I recently did an "audition" in a room I had never played in before, and I was surprised at how thin my sound seemed. When I open up my chops and get a more resonant, open sound, I feel inefficient and my range decreases. Basically, I end up going back to how I was approaching the horn before. Big sound, but no technique. I think I could benefit from having a lesson with a Reinhardt teacher and getting my embouchure classified. Any good Reinhardt teachers in the bay area that could help me? |
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bg Heavyweight Member
Joined: 12 Oct 2003 Posts: 1292 Location: boulder, colorado
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Posted: Tue Feb 02, 2016 8:10 am Post subject: |
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It sounds like your self-teaching and research was similar to my own, so perhaps I can offer some suggestions.
I believe that you are experiencing a thinner tone because you are playing with a more closed embouchure. The new resistance and compression is aiding you technically, but confusing you, as your old habits probably involved opening your aperture to achieve a larger tone.
Try leaving the embouchure set and firm, but increase the abdominal support necessary to make the air column feel more firm, energized and compressed. You'll get a larger tone, but it will have a slightly different character than your old sound. Most likely, it will be more vibrant and resonant, with more high partials present.
I try to describe this type of sound as "hard" with my students. Reinhardt believed that the aperture should be set closed, and only blown open as a reaction to the air passing through, never set open. I've found this to be very helpful advice. _________________ Brad Goode
www.bradgoode.com |
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Jaw04 Heavyweight Member
Joined: 31 Dec 2015 Posts: 897 Location: California
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Posted: Tue Feb 02, 2016 12:39 pm Post subject: |
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bg wrote: | It sounds like your self-teaching and research was similar to my own, so perhaps I can offer some suggestions.
I believe that you are experiencing a thinner tone because you are playing with a more closed embouchure. The new resistance and compression is aiding you technically, but confusing you, as your old habits probably involved opening your aperture to achieve a larger tone.
Try leaving the embouchure set and firm, but increase the abdominal support necessary to make the air column feel more firm, energized and compressed. You'll get a larger tone, but it will have a slightly different character than your old sound. Most likely, it will be more vibrant and resonant, with more high partials present.
I try to describe this type of sound as "hard" with my students. Reinhardt believed that the aperture should be set closed, and only blown open as a reaction to the air passing through, never set open. I've found this to be very helpful advice. |
Thanks, Brad. By the way, your skeleton warm up video was pretty revolutionary for me! I play on my visualizer every day now. |
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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: Sun Feb 28, 2016 8:27 pm Post subject: |
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Hi Jeff, and welcome to TH! have not seen you here before. I see you know of Mr Goode here, so he needs no introduction. Of course what he says is excellent, and to add to it:
the "hard" tone Brad refers to is sometimes called "the broken glass sound" by others. Behind the bell it may sound harsh like that, esp in a smaller room like many audition rooms are. We want to practice for how we sound at the back of a large hall instead.
Same thing goes for an uber-expensive Stradivarius violin, you stand right next to it and it sounds all scratchy, harsh, and terrible. Put it in the hands of a pro (w/ enough vibrato) in a large hall and esp in a section of a zillion of 'em and they start to sound pretty.
There's a lot to be said for getting the mechanics right, as described in the Encyclopedia, and seeing your technique come together as a result. Congrats! |
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royjohn Heavyweight Member
Joined: 12 Jan 2005 Posts: 2272 Location: Knoxville, Tennessee
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Posted: Sun Feb 28, 2016 8:38 pm Post subject: |
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I don't disagree with what's been said, but I would urge you to supplement your self-study and any Reinhardt routines and other practice you are doing with at least a few consults with a good Reinhardt teacher. I was astonished at what I learned and how much easier things became for me after just three consults (extended lessons) with a Reinhardt teacher. Your type, how you are setting your mpc and setting up, and your personal "pivot" can be crucial in attaining any kind of success and these are some of the first things a Reinhardt guru will look at. I hope someone will chime in with a recommendation for you...it is worth a trip if you have to travel some... _________________ royjohn
Trumpets: 1928 Holton Llewellyn Model, 1957 Holton 51LB, 2010 Custom C by Bill Jones, 2011 Custom D/Eb by Bill Jones
Flugels: 1975 Olds Superstar, 1970's Elkhardt, 1970's Getzen 4 valve
Cornet: 1970's Yamaha YCR-233S . . . and others . . . |
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Jaw04 Heavyweight Member
Joined: 31 Dec 2015 Posts: 897 Location: California
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Posted: Wed May 11, 2016 12:00 am Post subject: |
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Update:
Thank you for the responses! I still have not gotten with a teacher, but I plan on contacting some people tomorrow for a Skype lesson. Yesterday, I finally got the full Reinhardt Routines from Rich Willey (don't know what took me so long) and the Pivot Stabilizer immediately illuminated that I push up to ascend, pull down to descend. It is amazing to me that I played so long without understanding the mechanics of my own playing! Furthermore, I'm a little embarrassed that in all my years of study, and my own work as a private teacher, I never learned about this stuff until surfing around online. Why don't more teachers talk about this stuff??
Anyways, tracking my pivot has been really productive. Everything locked in from there on out in the few practice sessions I have had. The other bit of information that has been a lightbulb for me is to keep the "weight" on the lower lip on descending lip slurs. Everything just works so much better now. I've had similar sessions where everything is working, but I could never pinpoint why I was playing better. Of course, I have a lot of work to do to firmly establish these habits in my playing and maintain consistency. Right now I'm just excited to dive into it. |
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jwggraham New Member
Joined: 26 Apr 2005 Posts: 2 Location: Florence, SC
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Posted: Fri Jul 22, 2016 5:38 am Post subject: Donald S. Reinhardt |
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I have been playing 40+ years and have not had a lesson since college days. I took a lesson from Rich Willey (great guy) a month ago and he introduced me to the 10 test drills of Donald Reinhardt. Rich pointed out a couple bad habits that were costing me range and endurance. I have since practiced these drills religiously for a month with a focus on correcting the issues Rich pointed out. The results have amazed me. This one method along with Rich's instructions has transformed my playing more than anything I've ever done. I've noticed a dramatic increase in endurance and usable range. I highly recommend this method and Rich Willey as a teacher.
Julian |
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