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Monster Oil
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Joined: 16 Sep 2014
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Location: New London, CT
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dstdenis
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Joined: 25 May 2013
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Location: Atlanta GA
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 Posted: Sun Jan 29, 2017 8:22 pm Post subject: |
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Can't wait to see the full video. Thanks for arranging this interview.
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Jerry
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Location: Kennett Square, Pennsylvania
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| Posted: Wed Feb 01, 2017 3:49 pm Post subject: |
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| My favorite one so far! Thanks for doing it. |
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Blue Trane
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Joined: 20 Dec 2009
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Location: USA
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| Posted: Wed Feb 01, 2017 5:13 pm Post subject: |
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| Bravo! Great interview! |
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dstdenis
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Joined: 25 May 2013
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Location: Atlanta GA
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| Posted: Thu Feb 02, 2017 6:49 am Post subject: |
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Great interview! Lots of helpful info in this one. Thanks for producing this.
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Miketpt
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Joined: 31 Aug 2004
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Location: Seattle, Washington USA
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| Posted: Thu Feb 02, 2017 7:13 am Post subject: |
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This brings back fond memories of my lessons with him. Thanks for doing this!
Mike |
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tim_wolf
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Joined: 28 Feb 2006
Posts: 379
Location: Lancaster, PA
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| Posted: Thu Feb 02, 2017 8:01 am Post subject: |
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His thoughts on sound are very eye (or should I say ear!) opening.
Please don't take this the wrong way, but it appears that the whole Monette sound concept is low on the pitch (and Dave is entitled to like any sound he wants). Maybe this is why Monette equipment is so huge; because to play low on the pitch requires lots and lots of air and thus very open equipment.
From what I've read, players in the early part of the 20th century used much smaller equipment (medium large horns and smaller mouthpieces). Could it be their sounds were like Jim recommends and they didn't need or want huge equipment? It's too bad that during this era the recording industry didn't have the technology to really capture their sounds as they really were. Unfortunately, their aren't too many left who actually heard someone like Harry Glantz live during his prime.
It's so interesting to see how sound concepts vary from place to place and era to era. |
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Turkle
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Location: New York City
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| Posted: Thu Feb 02, 2017 10:25 am Post subject: |
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This was incredibly great, thank you so much!
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Monster Oil
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Joined: 16 Sep 2014
Posts: 512
Location: New London, CT
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| Posted: Thu Feb 02, 2017 6:19 pm Post subject: |
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Thanks for all the kind words!
For those who haven't watched, the link is here:
www.BrassChats.com
Tim, I'm not exactly sure when things went south as far as trumpet playing (blowing down, saying ooohhhhh, etc...). From what I understand though, the 'clarino' players back in the day used to play with very little air. I know Jim has some opinions on this, but I'm not sure they made it to the interview.
I'm trying to talk him into writing a book - he says, 'More like a pamphlet!'.
Anybody start trying this stuff yet with/without success?
Btw, we are running a February sale - 10% off all orders with code 'LubeIsInTheAir'.
Best,
Tom
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Howie
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Joined: 14 Sep 2014
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| Posted: Thu Feb 02, 2017 6:38 pm Post subject: |
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| Just watched the video. Anyone care to explain what pandolfi means by "on top of the sound", "where the note lives" and "taper zone"? |
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Monster Oil
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Location: New London, CT
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| Posted: Thu Feb 02, 2017 7:35 pm Post subject: |
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| Howie wrote: | | Just watched the video. Anyone care to explain what pandolfi means by "on top of the sound", "where the note lives" and "taper zone"? |
On top of the sound: Many people envision the sound as a circle, and you should aim for the middle of it. Jim says to aim above the middle - maybe halfway between the center and where the '12' would be on a clock. Or even higher.
Where the note lives: Where the note wants to sound most resonant.
Taper zone: When you do a diminuendo on a note where it ends up. At the end of the diminuendo is where the sound wants to be.
I think for him, these three concepts are all the exact same thing.
But I may be wrong - Jim works in mysterious ways...
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tubbs831
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Joined: 23 Mar 2005
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Location: Massachusetts/New Hampshire
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| Posted: Fri Feb 03, 2017 6:02 am Post subject: |
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| Thank you for this informative interview! |
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amuller
Regular Member
Joined: 28 Jun 2006
Posts: 99
Location: DC
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| Posted: Fri Feb 03, 2017 10:30 am Post subject: |
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| This was awesome. I have heard so much about him from so many different people and I found this to be one of your best chats yet. Snedecor then this one... home runs! |
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tryan
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Joined: 30 Dec 2007
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Location: Woodbine Md.
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| Posted: Fri Feb 03, 2017 10:43 am Post subject: |
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| Howie wrote: | | Just watched the video. Anyone care to explain what pandolfi means by "on top of the sound", "where the note lives" and "taper zone"? |
At the risk of giving away all my secrets:
I found this difficult to understand when i heard about this concept second-hand years ago.
The analogy he told me that made the most sense was to "imagine the notes are pvc pipes lined up, standing on end, with plastic wrap stretched taut over the top of each one, help in place with a rubber band (like drums). Your job is to skate across the top of each one without falling in any of them."
The idea is not to intentionally play sharp, although that does seem to be a side effect of playing this way, as evidenced by his tuning slide being pulled out an inch and a half. |
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Jay Lichtmann
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Joined: 08 Apr 2005
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| Posted: Sun Feb 19, 2017 5:47 am Post subject: |
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Vince Cicowicz and Jummy Stamp are turning over in their graves!
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In his retirement he had become that most dreaded of former athletes, the one who always remembered how much harder it was in his day "when ships were made of wood and men were made of steel."
Samuel Abt on Eddy Merx |
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Destructo
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Joined: 18 Apr 2022
Posts: 173
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| Posted: Sat Mar 11, 2023 5:47 pm Post subject: |
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I was just rewatching this interview. A lot of fascinating thoughts.
I am also a little stuck on the 'On Top of the Sound' aspect.
I believe I understand what he means but it is such a 180 from almost everything else people teach.
This would practically mean being sharp and pulling the tuning slide more than normal as someone mentioned above.
I'd love to know if there are any pros out there that have studied with Jim and can offer a bit more insight into this aspect.
The other stuff all makes sense to me and is very similar to what Peter Bond talks about. But the 'top of the note' thing I'd love to know more about |
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Miketpt
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Joined: 31 Aug 2004
Posts: 563
Location: Seattle, Washington USA
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| Posted: Sat Mar 11, 2023 8:27 pm Post subject: |
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| Destructo wrote: | I was just rewatching this interview. A lot of fascinating thoughts.
I am also a little stuck on the 'On Top of the Sound' aspect.
I believe I understand what he means but it is such a 180 from almost everything else people teach.
This would practically mean being sharp and pulling the tuning slide more than normal as someone mentioned above.
I'd love to know if there are any pros out there that have studied with Jim and can offer a bit more insight into this aspect.
The other stuff all makes sense to me and is very similar to what Peter Bond talks about. But the 'top of the note' thing I'd love to know more about |
I think it’s more subtle than that. A lot of players in an attempt to make the “big sound” blow below pitch center which results in spread and loss of color/brilliance. If that’s your tendency and you think of playing “centered” (of the pitch) you may still be below center. If that’s the case and you think more “on top” of the sound instead it will swing you more in the right direction.
As with anything there is no “one size fits all” since every player is different.
PM me.
Mike |
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Steve A
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Joined: 26 May 2006
Posts: 1808
Location: Toronto, Canada
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| Posted: Sun Mar 12, 2023 1:16 pm Post subject: |
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| Destructo wrote: |
I am also a little stuck on the 'On Top of the Sound' aspect.
I believe I understand what he means but it is such a 180 from almost everything else people teach.
This would practically mean being sharp and pulling the tuning slide more than normal as someone mentioned above. |
I went to see Jim Pandolfi for two lessons, and they were great. I'd unhesitatingly recommend it to anyone. On that note, if you're really interested in learning what he means by this, you'd be best learning it from him in person, because language will only take you so far in getting the sense of what he's trying to do.
But, trying to address some of this just a bit - he told me that his concept has nothing to do with where your tuning slide is. He's not talking about bending up or down to anything. It's a crude comparison, but it's probably more accurate to say that there's a particular very focused and brilliant sound that can be found by going to the opposite extreme from overblowing, and that he gets to that by tapering down in volume until the note has a certain floating quality.
Sycil Mathai talks about this in much more detail here:
https://www.youtube.com/watch?v=yk1nfqNJqgk |
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Destructo
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| Posted: Sun Mar 12, 2023 11:38 pm Post subject: |
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Thanks for the additional information. I'd love to take lessons but am in the wrong country and I don't know whether Jim offers online lessons or if that format would even work for this kind of subtle thing.
I shall continue to explore and ponder  |
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Steve A
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Joined: 26 May 2006
Posts: 1808
Location: Toronto, Canada
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| Posted: Wed Mar 15, 2023 12:11 pm Post subject: |
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| Destructo wrote: | | I'd love to take lessons but am in the wrong country and I don't know whether Jim offers online lessons or if that format would even work for this kind of subtle thing. |
I'd be surprised if he teaches online, and I have doubts about how effective it would be at conveying the quality of sound he's trying to get, so I think in person would probably be the best bet. Obviously one's individual circumstances vary, and it might not be possible for you to travel for a trumpet lesson, but I traveled internationally to see him (which is, admittedly, relatively easier from Canada than most places), and he mentioned he'd recently had someone come from New Zealand to see him. Of course, it might be totally out of the question for you, but, if you can swing it, others (myself included!) have found it worthwhile, despite the time and expense. |
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