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The Reinhardt Routines—a total embouchure development plan


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BeboppinFool
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PostPosted: Sat Sep 15, 2007 6:36 pm    Post subject: The Reinhardt Routines—a total embouchure development plan Reply with quote

I just wanted to make sure there was a dedicated thread for specific discussion about the new book:

The Reinhardt Routines—a total embouchure development plan.

Special thanks to Chris LaBarbera for the brilliant idea behind making this book and to Dave Sheetz for his inestimable guidance in tailoring it to be accessible to non-Reinhardt students. Reinhardt's sheer genius is finally available to those who really want to develop no-nonsense trumpet chops and improve their musicianship without suffering from "analysis paralysis."

Anybody who has any questions whatsoever about this great new publication is encouraged to write to us here and ask. We have a crew of qualified, devoted, long-time Reinhardt students here who can help answer any questions about the materials in this new book.

A couple of threads have already been started; you can see what has also been posted here and here.
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Tim McGinley
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PostPosted: Sat Sep 15, 2007 7:02 pm    Post subject: Reply with quote

Mine is on order and I eagerly anticipate it's arrival. I was so glad to hear of this books release. Renhardt studies opened so many doors for me in the past. Now that I am not able to put in as many hours on the horn, I am excited to be able to incorporate this into my day!

Thanks as always Mr. Rich for your hours of tireless dedication to the cause.

Every day, in every way....

T-
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BeboppinFool
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PostPosted: Thu Sep 20, 2007 6:58 pm    Post subject: Reply with quote

Here are some questions I received via email; I gave some answers and asked if it was okay to post them here, and he said "Sure," so hopefully we'll get some more input here.

A new owner of The Reinhardt Routines for trumpet wrote:
I got the new book last night and have a some questions:

1. Is the pivot stabilizer the very first thing I should play that day, or should I warm up first with, say, warmup 57?

2. What is the dynamic marking for the pivot stabilizer?

3. Looking at the advanced form studies, I see the 12 articulations. Are all 12 meant to be played for all 8 exercises in a single sitting, or should the player choose 1 articulation and stick with that one for the day?

4. I have the other copy from your site of the form studies, with the exercise in 3 different octaves. It appears on that page that all three octaves were to be played in one breath (which made for some awkward jumps, but that was what made it challenging). In the new version, it looks like the various octaves are to be played separately. Is that your intention, and was I misinterpreting the old version?

I hope these questions aren't too stupid. Thanks!


In briefly attempting to answer those questions, I wrote:
1. Stabilizer first on days that you want to do a "Day #" routine . . . Warmup 57 is good when you want a break from the Nine Day rotation.

2. The longer the ascending slurred interval, the "thinner" the lower note . . . don't hold back, but don't blast, either.

3. Those are however you want to do it. The more articulations & scales you cover in a day, the better you'll be for it.

4. Both versions are in the book. Reinhardt really wanted you to get comfortable with all your scales in all your keys and added the articulations and the binary or ternary patterns to that just to make a more rigorous workout.

These are all great questions. Would you mind if I post them "anonymously" in the Reinhardt Forum at trumpetherald.com?



Additionally, the same trumpet player wrote:
A follow-up: I notice that on the handwritten version of the advanced form study, he had clearly marked "do not inhale" between the octave jumps. Should I follow that on all 8 exercises on page 26 if I intend to play in more than one octave? I'm only asking because I don't really see the "do not inhale" in the new version.


In answering the follow-up question, I wrote:
Yeah, that makes sense to me. That page 26 version is pretty much a duplicate of what he had done in 1942, and that handwritten version is one he did in 1964. By the time you get to that page every day, I'm thinking that he really just wants you to work out in your keys with the various articulations. If you want to make it more challenging for yourself I think that's good.

I hope you get a lot of good from practicing out of this book. It sure has been helping me lately!

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healey.cj
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PostPosted: Sat Sep 22, 2007 11:17 pm    Post subject: Reply with quote

...

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BeboppinFool
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PostPosted: Sun Sep 23, 2007 6:37 am    Post subject: Reply with quote

healey.cj wrote:
Never mind...

That is an expensive 50page book when you add shipping and convert to Australian dollars (and then add 2.5% credit card charge) :-S
Sorry Rich, I'm going to have to stick with the old pivot Manual.
By the time I convert the price etc it will cost about the same as I paid for a brand new copy of the Arban which is 350 pages long.

Thanks anyway,
Chris

That's fine, Chris, the Manual is great, especially if you can get hold of the various instructions that came along later on how to use it.

One big difference between Reinhardt and Arban is that you don't have sets of routines laid out for you all through the book in Arban's. In fact, without a great teacher, Arban's can be extremely daunting and even overwhelming. With The Reinhardt Routines you never have to wonder what to practice next, because it's all laid out for you: Day 1, #1), #2), #3), etc.

Reinhardt aims you toward total embouchure development; all the technique plus the range and endurance. If you can figure out the Arban's maze (like Eric Bolvin apparently has), you can develop all kinds of technique . . . up to what, a high C?

Here's a thought: how many "miracle mouthpieces" do you have that you can't use, anyway, that you can sell on eBay and raise the money to buy a book that will give you what a mouthpiece safari can't?

So, don't worry, I understand, you don't have to explain. It's cool. Take care, have a nice day.
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pipedope
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PostPosted: Sun Sep 23, 2007 12:05 pm    Post subject: Reply with quote

I just ordered a copy.
Thanks for taking PayPal, it makes life very easy for me and I am much more likely to buy more and sooner.
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Fleebat
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PostPosted: Sun Sep 23, 2007 12:24 pm    Post subject: Reply with quote

"If you can figure out the Arban's maze (like Eric Bolvin apparently has), you can develop all kinds of technique . . . up to what, a high C?"

People have been taking exercises from methods like Arban's up an octave, a third, a fourth, a fifth for decades. Arban's can in fact function very well as range-building material, for DSR devotees or anyone else.

Rusty Russell
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BeboppinFool
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PostPosted: Sun Sep 23, 2007 1:30 pm    Post subject: Reply with quote

Fleebat wrote:
People have been taking exercises from methods like Arban's up an octave, a third, a fourth, a fifth for decades. Arban's can in fact function very well as range-building material, for DSR devotees or anyone else.

Thanks for making my point, Rusty. You don't have to take anything up with The Reinhardt Routines, it is already written to take you right up there.

Of course, Reinhardt states "ambitious students can take the entire book one octave higher than written," provided they aren't experiencing strain. I'm nowhere near ready to do the book up an octave.

Oh, and I missed the page in the Arban's book where he instructs people to take exercises up a third, a fourth, or a fifth. Geesh, at the very least he could've written them out for us!


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healey.cj
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PostPosted: Tue Sep 25, 2007 4:08 pm    Post subject: Reply with quote

...

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JoshMizruchi
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PostPosted: Wed Sep 26, 2007 2:26 pm    Post subject: Reply with quote

For some reason my order isn't going through. I'll get it though, no worries!
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BeboppinFool
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PostPosted: Mon Oct 01, 2007 8:13 am    Post subject: PivotBone's great simplification from another site Reply with quote

I thought this was brilliantly done, so I'm reposting it here (with a few typos corrected and very slight editing):

PivotBone, on another site, wrote:
I think it may be helpful for many players to consider just their pivot classification and not even worry about their type so much. Knowing your type is really just a combination of airstream direction and pivot classification, but the airstream direction is more of a result of mouthpiece placement and knowing which way your airstream is going is not nearly as useful as knowing your pivot direction.

The pivot, so we're all on the same page, is the lips and mouthpiece moving AS ONE UNIT, on the teeth or teeth and gums. There should be little to no angular motion of the instrument. Take your index and middle finger, place them on your lips like you would your mouthpiece, and push and pull your lips up and down. This is a pivot!

So, with that in mind, it may be helpful to know what the pivot classifications are. Pivot Classification 1 is basically: pushes up to ascend, pulls down to descend. Pivot Classification 2 is just the opposite: Pulls down to ascend, pushes up to ascend. In addition, nearly all players also pivot on a diagonal track as they ascend and descend. As an example, a player may pivot up and to the right to ascend, and then pivot down and to the left to descend.

Now you can test which pivot works better FOR YOU. Play a middle concert Bb and slur up to the F concert above. Try each pivot several times. One should be easier than the other. Listen for the pitch. If the upper note is flat, there is a good chance that is NOT the right pivot. If it is in tune or even sharp, that's probably the one. Now try slurring an octave from middle concert Bb to high Bb. Same pivot? Try descending. At this point it should become pretty obvious. THIS is something you can really use from Reinhardt.

Now, how to apply this: Use that Pivot Stabilizer routine that comes witht he book (and which you should be doing before the rest of the book everyday). Use your ascending and descending pivot on all of those intervals. LISTEN FOR THE CORE OF THE SOUND!!! That is a vitally important point. You don't want to over-pivot OR under-pivot. The core of the sound will tell you just how much pivot to employ. When descending, don't drop your jaw, use your pivot, keep the weight on the lower lip, and let your jaw recede a little.

Now, after you have done your pivot stabilizer, forget about it and go on to the rest of the exercises. Over time, this will take hold and you will just be pivoting very naturally.

Probably the other big Reinhardt point is to learn how to buzz with your lower lip slightly in and your airstream going down, like Reinhardt recommends (see the encyclopedia for all of the rules for buzzing!). Once you can do this (and you DO do this everyday) you start building some real strength in the right spots and you can work on setting the mouthpiece WITH ALMOST BUZZING FIRMNESS and then on not disturbing the mouthpiece when breathing. I think many players would be a lot better off EMBOUCHURE-WISE if they never needed to take a breath. Those inter-phrase inhalations can just kill you if not done correctly.

I hope this helps someone!!

Rich Hanks

Rich, that helped me!!! I'm not as good at explaining things as you are, and I think your descriptions of the pivot classifications and the tests are great! Thank you!
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PivotBone
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PostPosted: Mon Oct 01, 2007 12:53 pm    Post subject: Reply with quote

aww, shucks...
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oxleyk
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PostPosted: Mon Oct 01, 2007 1:01 pm    Post subject: Reply with quote

Can I get some clarification? I've been reading a lot on the DSR forum and I'm confused by the use of the term 'pivot.' A pivot is movement around a single point but what is described by the method sounds like 'lateral' movement of the mouthpiece and lips. What am I missing?

Kent
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BeboppinFool
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PostPosted: Mon Oct 01, 2007 2:24 pm    Post subject: Reply with quote

Reinhardt told me (numerous times) that he always regretted choosing the term "pivot," and that he got the term from the golf links.

You are correct. A pivot as Reinhardt defines it is an up-and-down movement along the track of the inner embouchure.

Once again, for clarification, as PivotBone so eloquently wrote:
The pivot, so we're all on the same page, is the lips and mouthpiece moving AS ONE UNIT, on the teeth or teeth and gums. There should be little to no angular motion of the instrument.


When guys dip their heads for their low registers and call that a pivot, they are not talking about what Reinhardt taught.
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pipedope
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PostPosted: Tue Oct 02, 2007 10:06 am    Post subject: Buzzing Routine, #1 in Trio of Daily Calisthenics Reply with quote

It says, "In the manner prescribed by the Pivot System sustain a buzz ..."

Where do I find this information so I can do this properly?
My book budget is used up for this month so any purchases will have to wait.

Thanks

The book is fantastic, it is the best looking book I have seen in years and the work in it is making me think and work at the same time.
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PivotBone
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PostPosted: Tue Oct 02, 2007 10:14 am    Post subject: Reply with quote

Here ya go (how to buzz the lips)...

http://www.mediafire.com/?0f41ogmxjkm
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pipedope
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PostPosted: Tue Oct 02, 2007 11:20 am    Post subject: Reply with quote

Thank You!

Now I just have to work on it to get a clean buzz and tone.
I am mostly getting something closer to a raspberry than a buzz but can at times for a moment get a fairly clean tone.

I am being cautious with it as I don't want to hurt myself but I want to get as much from the book as I can. My metronome is really getting a workout.
Not to mention my chops.
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PivotBone
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PostPosted: Tue Oct 02, 2007 1:56 pm    Post subject: Reply with quote

You're welcome. remember, rest often!
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pipedope
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PostPosted: Tue Oct 02, 2007 3:59 pm    Post subject: Reply with quote

I am training myself to rest more often and longer when needed.

I am learning the signs that I am getting tired and stressed (chops that is) before things fall apart.
Last night in the middle of day 2 #8 my tone went nasty with a buzz on it. I stopped right then. I should have stopped for more rest before I got to that point.

At least now I have the instructions right in the book to justify my stopping and resting as needed. This helps me counter my tendency to just push on to do more and more. No point in hurting myself.

As a comeback player I am trying to do the best I can and not just reproduce the bad habits and mistakes of the past.

The RR book has a daily spot on my music stand.
Thank you to everyone who worked to make it available.
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BeboppinFool
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PostPosted: Wed Oct 03, 2007 5:21 am    Post subject: Reply with quote

A couple of reviews have been posted here: one by David Wilken and one by Doug Elliott, both excellent trombonists and instructors.

Doug's "advice" to skip the daily preliminary Pivot Stabilizer makes a lot of sense to me. Heck, even after being a devoted Reinhardt student for almost 30 years, that thing can sometimes be difficult for me!

I guess what Dave Sheetz and I were thinking is that if players only thought about keeping the weight on the lower lip while doing that routine, eventually their correct pivot would take hold. Now I'm wondering if maybe that wasn't the best assumption to make.

However, nobody has written me privately telling me they feel like their overall playing has taken a downward turn, so maybe it's okay. Maybe if they start having problems we can suggest they skip the Stabilizer page for a couple weeks and see if that clears it up.

Anyway, I appreciate Doug Elliott and Dave Wilken taking the time to write such thoughtful reviews of the new book.
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