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Robert P
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 Posted: Mon Aug 20, 2018 8:26 pm Post subject: Players with a similar embouchure to Sergei Nakariakov? |
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He strikes me as having a unique-looking embouchure. Can you think of others who look to have a similar setup?
https://www.youtube.com/watch?v=aV9_2am19rU
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chuck in ny
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| Posted: Mon Aug 27, 2018 6:58 am Post subject: |
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looks rolled in. i am always too much in awe of his effortless playing to look at the embouchure.
comes harder for most of us but we can come here and whine. guys who can play like sergei are rare. |
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LSOfanboy
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| Posted: Mon Aug 27, 2018 7:15 am Post subject: |
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| chuck in ny wrote: | looks rolled in. i am always too much in awe of his effortless playing to look at the embouchure.
comes harder for most of us but we can come here and whine. guys who can play like sergei are rare. |
Sergei is an amazing player, but I would say he is fairly specialised. His accuracy and dexterity is practically unrivalled, especially as far as his multiple tonguing is concerned. However, having spent a considerable amount of time listening to his recordings and hearing him live, I feel it is fair to say Sergei's range is limited and he wouldn't make a career as a Lead player, studio musician or a Principal trumpet.
In the most respectful way, I don't feel his playing is effortless at all, but it is highly highly refined. I think he has to work hard for the (slightly limited) upper register he has, but he manages this by never pushing the loud dynamics and a very high level of preparation, as well as a smaller-than-average mouthpiece too. Timofei Dokshizer was his inspiration, and on many aspects Sergei has exceeded Dokshizer's abilities, but has never managed to reach Dokshizer's glorious control of the high register.
This is in no way intended to be disrespectful of Sergei; he is absolutely a world leader in his (slightly niche) field. I think his recording of Saint-Saens 'Introduction and Rondo Capriccioso' is unrivalled, even by the extraordinary Malcolm Mcnab- but I don't believe Sergei could do Malcolm's day job...
Hope this adds to the discussion.
All the best |
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TonytheTiger
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| Posted: Mon Aug 27, 2018 8:03 am Post subject: |
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| LSOfanboy wrote: |
... as well as a smaller-than-average mouthpiece too ...
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He plays a 1 1/4C equivalent |
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LSOfanboy
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| Posted: Mon Aug 27, 2018 9:30 am Post subject: |
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| TonytheTiger wrote: | | LSOfanboy wrote: |
... as well as a smaller-than-average mouthpiece too ...
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He plays a 1 1/4C equivalent |
Hi,
It was my understanding that he plays a 10 1/2C equivalent. He showed it to me at a masterclass.
Others are welcome to chime in if they have further information.
Thanks
Edit: I have done some digging and this link http://abel.hive.no/trompet/playerhorn/ seems to suggest we may both be correct!
I have to say; when I saw Sergei at a masterclass a couple of years ago he definitely told the class he used a very small mouthpiece which allowed him to be efficient as possible. I also had a colleague who shared a dressing room with Sergei (it was a big trumpet concert with multiple soloists) and told me he played a mouthpiece like a 10 1/2C. So my information is coming from a number of reliable sources, although I am still very open to hearing from others.
Perhaps I am wrong, but I wonder if the Courtois 1/4C was seen as a more 'popular' mouthpiece to supply with the trumpet and this has led to a belief that this is Sergei's mouthpiece.
All that being said, it isn't really a big deal!
All the best |
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area51recording
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| Posted: Mon Aug 27, 2018 10:43 am Post subject: |
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| LSOfanboy wrote: | | chuck in ny wrote: | looks rolled in. i am always too much in awe of his effortless playing to look at the embouchure.
comes harder for most of us but we can come here and whine. guys who can play like sergei are rare. |
Sergei is an amazing player, but I would say he is fairly specialised. His accuracy and dexterity is practically unrivalled, especially as far as his multiple tonguing is concerned. However, having spent a considerable amount of time listening to his recordings and hearing him live, I feel it is fair to say Sergei's range is limited and he wouldn't make a career as a Lead player, studio musician or a Principal trumpet.
In the most respectful way, I don't feel his playing is effortless at all, but it is highly highly refined. I think he has to work hard for the (slightly limited) upper register he has, but he manages this by never pushing the loud dynamics and a very high level of preparation, as well as a smaller-than-average mouthpiece too. Timofei Dokshizer was his inspiration, and on many aspects Sergei has exceeded Dokshizer's abilities, but has never managed to reach Dokshizer's glorious control of the high register.
This is in no way intended to be disrespectful of Sergei; he is absolutely a world leader in his (slightly niche) field. I think his recording of Saint-Saens 'Introduction and Rondo Capriccioso' is unrivalled, even by the extraordinary Malcolm Mcnab- but I don't believe Sergei could do Malcolm's day job...
Hope this adds to the discussion.
All the best |
When you say "limited range"....what are we talking about? anyone have any idea where he tops out in that dept? Just curious. I love his tone and technique btw! |
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Steve A
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| Posted: Mon Aug 27, 2018 11:06 am Post subject: |
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| LSOfanboy wrote: |
Sergei is an amazing player, but I would say he is fairly specialised. His accuracy and dexterity is practically unrivalled, especially as far as his multiple tonguing is concerned. However, having spent a considerable amount of time listening to his recordings and hearing him live, I feel it is fair to say Sergei's range is limited and he wouldn't make a career as a Lead player, studio musician or a Principal trumpet.
In the most respectful way, I don't feel his playing is effortless at all, but it is highly highly refined. I think he has to work hard for the (slightly limited) upper register he has, but he manages this by never pushing the loud dynamics and a very high level of preparation, as well as a smaller-than-average mouthpiece too. Timofei Dokshizer was his inspiration, and on many aspects Sergei has exceeded Dokshizer's abilities, but has never managed to reach Dokshizer's glorious control of the high register.
This is in no way intended to be disrespectful of Sergei; he is absolutely a world leader in his (slightly niche) field. I think his recording of Saint-Saens 'Introduction and Rondo Capriccioso' is unrivalled, even by the extraordinary Malcolm Mcnab- but I don't believe Sergei could do Malcolm's day job...
Hope this adds to the discussion.
All the best |
There are a few points here where I respectfully disagree, and a few where I think we're making a somewhat misleading comparison. I've seen Sergei play as a soloist with orchestra, have many of his CDs, and have have watched a bunch of his youtube masterclasses, etc. (admittedly missing a lot of the content of the dialogue, since I don't understand Russian), so I have at least a passably well-informed view of his playing, I think.
I'm not sure I've heard another player (possibly excepting Mendez?) demonstrate the kind of general solidity, agility, and fluidity high up in the harmonic series (note that he's playing a Bb!) that Sergei demonstrates in this live recording of the Mendelssohn D Minor violin Concerto:
https://www.youtube.com/watch?v=Wqvjj9V84ps
That's not to say that no one else could do this - who knows? - but I don't think he has any meaningful restrictions in this area. He chooses to play in a relatively delicate style, which is probably necessary for the economy of motion necessary to be able to play such enormously difficult pieces night-in, night-out. It's also entirely possible that that's simply what he likes, and that he's not that into competing at the same types of goals that many trumpet players prefer. To me, he sounds more like he wants his trumpet to be able to be like a violin, or a flute than what most of us aim for.
Also, as far as comparison to Malcolm or other players are concerned - I'll freely concede this is speculative, but I believe that somewhat who has accomplished as much on the trumpet as he has could learn to play lead, or studio, principal trumpet type playing to a level that would more than meet most requirements. It's not where he's specialized, but I have a hard time believing that he couldn't train himself to do that, if it was his goal.
He probably couldn't outplay Wayne Bergeron in Wayne's wheelhouse any more than Wayne Bergeron could outplay him in his own, but I believe that fundamentally good trumpet playing has a lot in common in all styles, and that A: both of those two very different players could probably surprise a lot of us by being able to do more of the perceived opposite skill set than we tend to assume, and B: both could apply their highly developed skills and understanding of good trumpet playing to be able to do a lot of things at a phenomenal level, if desired.
My two cents.  |
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LSOfanboy
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| Posted: Mon Aug 27, 2018 11:06 am Post subject: |
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| area51recording wrote: | | LSOfanboy wrote: | | chuck in ny wrote: | looks rolled in. i am always too much in awe of his effortless playing to look at the embouchure.
comes harder for most of us but we can come here and whine. guys who can play like sergei are rare. |
Sergei is an amazing player, but I would say he is fairly specialised. His accuracy and dexterity is practically unrivalled, especially as far as his multiple tonguing is concerned. However, having spent a considerable amount of time listening to his recordings and hearing him live, I feel it is fair to say Sergei's range is limited and he wouldn't make a career as a Lead player, studio musician or a Principal trumpet.
In the most respectful way, I don't feel his playing is effortless at all, but it is highly highly refined. I think he has to work hard for the (slightly limited) upper register he has, but he manages this by never pushing the loud dynamics and a very high level of preparation, as well as a smaller-than-average mouthpiece too. Timofei Dokshizer was his inspiration, and on many aspects Sergei has exceeded Dokshizer's abilities, but has never managed to reach Dokshizer's glorious control of the high register.
This is in no way intended to be disrespectful of Sergei; he is absolutely a world leader in his (slightly niche) field. I think his recording of Saint-Saens 'Introduction and Rondo Capriccioso' is unrivalled, even by the extraordinary Malcolm Mcnab- but I don't believe Sergei could do Malcolm's day job...
Hope this adds to the discussion.
All the best |
When you say "limited range"....what are we talking about? anyone have any idea where he tops out in that dept? Just curious. I love his tone and technique btw! |
I've never heard him play a proper high F on the Bb trumpet, and when he plays above a high C it has always been at a soft (and controlled) dynamic. The couple of recitals I have seen him do VERY rarely go above a high C. I do remember one work which ended with a quick octave gliss up to a staccato quaver high F, Sergei nailed the note below (so it was a convincing ending nonetheless) but the high F wasn't even close, he approached it very softly and the note cut out around a C or D, he sighed slightly and gave the impression it was more a shot in the dark rather than something he was confident with. Needless to say, that was practically the only note that didn't come out in the whole recital. Sergei's playing is absolutely astonishing and virtually flawless on a remarkably consistent basis, but he does seem to avoid anything that utilises the 'high register' (and I'm talking in classical/orchestral terms here) very much.
In one of the masterclasses I saw him take, and I'm afraid I don't remember the piece (it was possibly a Brant Concert piece), he avoided any of the 'optional higher notes', even when the student had played them every time.
Again, I stress, no criticism of Sergei here, his 'thing' is remarkable but I am only making the observation that his 'thing' is definitely designed to sit within the comfortable middle and lower registers of the instrument (where his sound is absolutely glorious might I add). |
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area51recording
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| Posted: Mon Aug 27, 2018 11:12 am Post subject: |
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| Interesting though that a guy that has such a beautiful sound and absolute command of the instrument like he does would have that kind of range. I wonder if it is a true physical limitation or just something that is of no interest for him to acquire.... |
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LSOfanboy
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| Posted: Mon Aug 27, 2018 11:17 am Post subject: |
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| Steve A wrote: | | LSOfanboy wrote: |
Sergei is an amazing player, but I would say he is fairly specialised. His accuracy and dexterity is practically unrivalled, especially as far as his multiple tonguing is concerned. However, having spent a considerable amount of time listening to his recordings and hearing him live, I feel it is fair to say Sergei's range is limited and he wouldn't make a career as a Lead player, studio musician or a Principal trumpet.
In the most respectful way, I don't feel his playing is effortless at all, but it is highly highly refined. I think he has to work hard for the (slightly limited) upper register he has, but he manages this by never pushing the loud dynamics and a very high level of preparation, as well as a smaller-than-average mouthpiece too. Timofei Dokshizer was his inspiration, and on many aspects Sergei has exceeded Dokshizer's abilities, but has never managed to reach Dokshizer's glorious control of the high register.
This is in no way intended to be disrespectful of Sergei; he is absolutely a world leader in his (slightly niche) field. I think his recording of Saint-Saens 'Introduction and Rondo Capriccioso' is unrivalled, even by the extraordinary Malcolm Mcnab- but I don't believe Sergei could do Malcolm's day job...
Hope this adds to the discussion.
All the best |
There are a few points here where I respectfully disagree, and a few where I think we're making a somewhat misleading comparison. I've seen Sergei play as a soloist with orchestra, have many of his CDs, and have have watched a bunch of his youtube masterclasses, etc. (admittedly missing a lot of the content of the dialogue, since I don't understand Russian), so I have at least a passably well-informed view of his playing, I think.
I'm not sure I've heard another player (possibly excepting Mendez?) demonstrate the kind of general solidity, agility, and fluidity high up in the harmonic series (note that he's playing a Bb!) that Sergei demonstrates in this live recording of the Mendelssohn D Minor violin Concerto:
https://www.youtube.com/watch?v=Wqvjj9V84ps
That's not to say that no one else could do this - who knows? - but I don't think he has any meaningful restrictions in this area. He chooses to play in a relatively delicate style, which is probably necessary for the economy of motion necessary to be able to play such enormously difficult pieces night-in, night-out. It's also entirely possible that that's simply what he likes, and that he's not that into competing at the same types of goals that many trumpet players prefer. To me, he sounds more like he wants his trumpet to be able to be like a violin, or a flute than what most of us aim for.
Also, as far as comparison to Malcolm or other players are concerned - I'll freely concede this is speculative, but I believe that somewhat who has accomplished as much on the trumpet as he has could learn to play lead, or studio, principal trumpet type playing to a level that would more than meet most requirements. It's not where he's specialized, but I have a hard time believing that he couldn't train himself to do that, if it was his goal.
He probably couldn't outplay Wayne Bergeron in Wayne's wheelhouse any more than Wayne Bergeron could outplay him in his own, but I believe that fundamentally good trumpet playing has a lot in common in all styles, and that A: both of those two very different players could probably surprise a lot of us by being able to do more of the perceived opposite skill set than we tend to assume, and B: both could apply their highly developed skills and understanding of good trumpet playing to be able to do a lot of things at a phenomenal level, if desired.
My two cents. |
Hi,
Certainly a very valid opinion.
I am very aware of that recording and I too am in awe of it. I would politely disagree with you that it is particularly impressive in terms of control of the harmonic series. The piece hardly goes above a high C and, as far as that particular skill is concerned, I think any good principal trumpet could demonstrate similar (and potentially demonstrate that control on higher harmonics) control in that area of the instrument. Think of the British Orchestral legends (Maurice Murphy, James Watson, Philip Cobb and Rod Franks to name just a few) who predominantly use/d the Bb trumpet to consistency nail music that involves control of the harmonic series at least a couple of partials higher than that concerto. And that is without even starting on the period instrument players...
On the subject of doing different jobs; I think its interesting you bring up Wayne Bergeron. Both are tremendous players and world-leaders in their respective areas, but even with 10 years of focused practice I don't think either would be able to out-do the other in their niche. I think physiology plays a greater part than you are giving it credit for.
I hope this can add to this discussion!
All the best |
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LSOfanboy
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| Posted: Mon Aug 27, 2018 11:25 am Post subject: |
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| area51recording wrote: | | Interesting though that a guy that has such a beautiful sound and absolute command of the instrument like he does would have that kind of range. I wonder if it is a true physical limitation or just something that is of no interest for him to acquire.... |
Hi,
Apologies for somewhat dominating this forum at the moment!
My experience of Sergei leads me to believe that both of those reasons are interlinked for him; range has never been particularly easy nor natural for him, and his exceptional abilities across virtually all other facets of playing mean he has never felt interested in trying to work it out.
Also remember that Sergei found fame as a young teenager, his playing showed dazzling technique and unbelievable consistency, but his range was not exceptional. Demand for performances has been constant for Sergei since then and it is easily conceivable that he has never had the time (nor need) to experiment (and risk the rest of his set-up) and develop this area of his playing. Sometimes there is a benefit to arriving on the scene a little later. Not to detract at all from his phenomenal playing.
All the best |
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Steve A
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Location: Toronto, Canada
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| Posted: Mon Aug 27, 2018 11:36 am Post subject: |
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| LSOfanboy wrote: |
Hi,
Certainly a very valid opinion.
I am very aware of that recording and I too am in awe of it. I would politely disagree with you that it is particularly impressive in terms of control of the harmonic series. The piece hardly goes above a high C and, as far as that particular skill is concerned, I think any good principal trumpet could demonstrate similar (and potentially demonstrate that control on higher harmonics) control in that area of the instrument. Think of the British Orchestral legends (Maurice Murphy, James Watson, Philip Cobb and Rod Franks to name just a few) who predominantly use/d the Bb trumpet to consistency nail music that involves control of the harmonic series at least a couple of partials higher than that concerto. And that is without even starting on the period instrument players... |
Indeed - I'm well aware of the fantastic Bb playing the UK. I was lucky enough to attend a weeklong masterclass series that James Watson participated in when I was younger, and he was fantastic as a player and a musician, and I admired his playing tremendously. It appears that we're unlikely to agree, and you've obviously given this subject some thought, but just to clarify what I meant - agreed, he rarely plays much above high C in this recording, or elsewhere that I've heard. However, up to that point, his ability to stay up there without apparent strain, cleanly, quickly, approached by seemingly virtually any interval, at any dynamic, and any articulation is something that I find amazing, and especially admirable about his playing. Perhaps others could do likewise, but I can't think of too many players that I've heard approach that particular challenge in a way that made me feel that it's a non-issue for them the name way that it might be on violin, or other instruments. I think this is the issue that makes Sergei both special and something of a lightning rod for controversy - he doesn't seem to want to play the trumpet the same way the rest of us do. (Aside from the fact that we wish we could play as fluidly and cleanly as he does.) It makes comparisons between him and other players somewhat confounding, because he just simply doesn't do the same stuff others do. I believe that's a reflection of choice, not inability, but I freely admit that's just speculation.
| LSOfanboy wrote: | On the subject of doing different jobs; I think its interesting you bring up Wayne Bergeron. Both are tremendous players and world-leaders in their respective areas, but even with 10 years of focused practice I don't think either would be able to out-do the other in their niche. I think physiology plays a greater part than you are giving it credit for.
I hope this can add to this discussion!
All the best |
Again, I may not have phrased this as well as perhaps I should have - I doubt either player of those two could truly match or exceed each other in their respective areas of strength after any amount of practice. What I meant to emphasize is that I believe either could learn to do skills more associated with the other player at an extraordinary level - perhaps not as extraordinary as the other, but still at a level that many "ordinary" professional players would admire.
Personally, I've never seen anything that I felt supported the notion that physiology is a meaningful contributor to this, but I've also never really given it much thought, so I won't claim to have a meaningful opinion on that subject. |
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farnhamjack5
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| Posted: Sun Sep 02, 2018 4:58 pm Post subject: |
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| I don't think his embouchure is strange or unconventional at all. The angle he holds his horn makes it look more lopsided than it is. I just think his lips are ultra focused, giving him that pingy articulation and amazing efficiency. Also, Bob Sullivan once said he can count the number of players he's seen with a perfectly centered embouchure on one hand. |
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chuck in ny
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| Posted: Sun Sep 02, 2018 5:31 pm Post subject: |
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it would be helpful to understand russian as there must be chat over there on this subject.
it was always my suspicion that sergei had a savant experience, intuitively knew his optimum embouchure, and didn't go through the fits and major changes that others do. that's the way it looks from his demeanor and a quick face read.
musicians in russia would know the story. |
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Wilktone
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| Posted: Mon Sep 03, 2018 12:30 pm Post subject: |
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I find his embouchure to be very unconventional, but for reasons that are different from what has been brought up already in this topic.
If you watch his embouchure closely you should be able to spot that his mouthpiece placement appears (from the outside) to have more lower lip inside the mouthpiece. In and of itself, that's not really uncommon (maybe 10%-15% of brass players have this mouthpiece placement). When the lower lip predominates the air stream gets directed towards the top of the mouthpiece cup when playing, meaning these players have an upstream embouchure type.
Most upstream brass players have a horn angle that is directed close to straight out, but some do play with a lowered horn angle (I do).
What's so unusual about Nakariakov's embouchure is what I prefer to call an "embouchure motion." Watch his embouchure closely in the video and you can note that when he ascends he pushes the mouthpiece and lips together along his teeth and gums upwards. When he descends he pulls them downwards. This particular "embouchure motion" only seems to happen with one downstream (more upper lip inside the mouthpiece) embouchure type. Upstream players (more lower lip inside the mouthpiece) seem to always pull down to ascend and push up to descend. While one of the downstream types also do this, players who share the same basic embouchure motion as Nakariakov almost always have a mouthpiece placement that is around 75% upper lip inside or more. It's very strange to see a player with such a low mouthpiece placement with this embouchure motion.
Without being able to watch him play into a transparent mouthpiece and see how his air stream direction is going it's hard to say what's going on. If I had a student with his embouchure motion and mouthpiece placement I would experiment to see if a mouthpiece placement higher on the lips would work better, but it's also really hard to say that such beautiful playing is wrong.
Dave
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cheiden
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| Posted: Wed Sep 05, 2018 5:53 am Post subject: |
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Sergei is one of the most gifted trumpet players I've ever heard. He clearly has all the necessary skill to masterfully render some extraordinary literature. With all that he has accomplished it never occurred to me that he hasn't demonstrated screaming lead chops. I don't expect him to publish Bill Chase's greatest hits anytime soon, nor will I hold it against him. Does that make him in any way a lesser player? I think not.
I like high notes as much or more than many. From early on my collection was chock full of MF and Chase. But I also have plenty of Clifford, Louis, Winton, Art,... I don't expect to hear screaming lead playing from them either.
Seems to me it's a bit like expecting a prima ballerina to impress me with how much she can bench press?
Yeah, seems to me that Sergei's physical approach is a bit different than typical. To that end, I really like the quote from the previous post, "I would experiment to see if a mouthpiece placement higher on the lips would work better, but it's also really hard to say that such beautiful playing is wrong."
Morning rant over. Back to work.
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LSOfanboy
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| Posted: Wed Sep 05, 2018 7:51 am Post subject: |
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| cheiden wrote: | Sergei is one of the most gifted trumpet players I've ever heard. He clearly has all the necessary skill to masterfully render some extraordinary literature. With all that he has accomplished it never occurred to me that he hasn't demonstrated screaming lead chops. I don't expect him to publish Bill Chase's greatest hits anytime soon, nor will I hold it against him. Does that make him in any way a lesser player? I think not.
I like high notes as much or more than many. From early on my collection was chock full of MF and Chase. But I also have plenty of Clifford, Louis, Winton, Art,... I don't expect to hear screaming lead playing from them either.
Seems to me it's a bit like expecting a prima ballerina to impress me with how much she can bench press?
Yeah, seems to me that Sergei's physical approach is a bit different than typical. To that end, I really like the quote from the previous post, "I would experiment to see if a mouthpiece placement higher on the lips would work better, but it's also really hard to say that such beautiful playing is wrong."
Morning rant over. Back to work. |
Hi,
I am not sure if your post is aimed at my comments specifically, I had tried to make it explicitly clear that I think Sergei is a truly incredible player and that I view him in the highest regard, my comments on his range were not meant in any way to disparage his achievements.
But just to answer your post in general, you say you don't expect to hear high notes from '...Clifford, Louis, Winton, Art...' (btw its 'Wynton') but I would have to say again that those players all demonstrate range that is significantly stronger than I have ever heard from Sergei (they are all recorded live playing high Gs (and Wynton much higher than that)). You made examples of 'beautiful' players who you do not regard as high-note specialists, but all those examples exceed what we have seen from Sergei on the range count. I am not trying to argue that high notes = quality, or anything like that, I am only hoping to illustrate that this conversation had been centred around Sergei being the epitome of a specialist player- a world leader in his niche, but perhaps less well balanced to deal with the demands placed upon a more versatile professional.
Its not a question of judging Sergei's quality on his range, his playing is amazing and speaks for itself. The question was about his embouchure and its 'unique look', my suggestion being that it might be quite unusual because (alongside the outrageous playing he does) Sergei does not need or possess (I think its a chicken and egg situation) the range that a more versatile working pro would probably need.
I hope this is all fair, balanced and helps to add to the discussion!
To other potential posters; please read the whole thread and understand what is being discussed before jumping on the 'its not all about high notes' bandwagon or, indeed, the 'Sergei is amazing, don't criticise' direction. They are both areas where I think we are all in agreement, and this thread has nothing to do with ranking players on their range or bashing Sergei in anyway, anybody who thinks it is has missed the point entirely. (Cheiden this isn't aimed at you at all, I'm just trying and avoid any new posters misunderstanding this thread).
All the best |
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delano
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| Posted: Wed Sep 05, 2018 8:56 am Post subject: |
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| LSOfanboy wrote: |
To other potential posters; please read the whole thread and understand what is being discussed before jumping on the 'its not all about high notes' bandwagon or, indeed, the 'Sergei is amazing, don't criticise' direction. They are both areas where I think we are all in agreement, and this thread has nothing to do with ranking players on their range or bashing Sergei in anyway, anybody who thinks it is has missed the point entirely. (Cheiden this isn't aimed at you at all, I'm just trying and avoid any new posters misunderstanding this thread).
All the best |
This is not dominating, this is monopolizing the forum and this thread more in particular. And I see the above as an attempt to frighten off possible reactions on your highly speculative opinions about a top musician who is, cause of being that, in fact alone on the world. And Cheiden is right. |
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oxleyk
Heavyweight Member
Joined: 12 Apr 2006
Posts: 4180
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| Posted: Wed Sep 05, 2018 9:15 am Post subject: |
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| I think if you edited the video and rotated it so that his horn angle is higher you'd probably notice that his embouchure isn't really out of the ordinary. It's his downward head angle and playing to the floor that most notice as being out of place. It obviously works for him. |
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LSOfanboy
Veteran Member
Joined: 08 Jul 2018
Posts: 347
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| Posted: Wed Sep 05, 2018 9:23 am Post subject: |
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| delano wrote: | | LSOfanboy wrote: |
To other potential posters; please read the whole thread and understand what is being discussed before jumping on the 'its not all about high notes' bandwagon or, indeed, the 'Sergei is amazing, don't criticise' direction. They are both areas where I think we are all in agreement, and this thread has nothing to do with ranking players on their range or bashing Sergei in anyway, anybody who thinks it is has missed the point entirely. (Cheiden this isn't aimed at you at all, I'm just trying and avoid any new posters misunderstanding this thread).
All the best |
This is not dominating, this is monopolizing the forum and this thread more in particular. And I see the above as an attempt to frighten off possible reactions on your highly speculative opinions about a top musician who is, cause of being that, in fact alone on the world. And Cheiden is right. |
Hi,
I don't understand what you are saying? |
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