--------------------------------------
Watched it. Yes lots of things to 'think about'.
His mental focus on 'Jaw & Tongue' is interesting
.
But I'm not clear whether he attributes the position of the tongue directly to the position of the jaw (and lip effects), or he's just saying 'this works for me'.
Of course, understanding the relationship of jaw / tongue / lips is much less important than being able to DO whatever actions result in working function.
I do similar jaw and tongue actions, and also pay attention to my lips. My lips don't 'automatically' DO everything that is needed - if someone else's do work that way, then great. _________________ Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'.
--------------------------------------
Watched it. Yes lots of things to 'think about'.
His mental focus on 'Jaw & Tongue' is interesting
.
But I'm not clear whether he attributes the position of the tongue directly to the position of the jaw (and lip effects), or he's just saying 'this works for me'.
Of course, understanding the relationship of jaw / tongue / lips is much less important than being able to DO whatever actions result in working function.
I do similar jaw and tongue actions, and also pay attention to my lips. My lips don't 'automatically' DO everything that is needed - if someone else's do work that way, then great.
The thing that really hit me was the aperture size. That gave me an increased range at very soft playing and a huge increase in endurance. _________________ Richard
Joined: 24 Dec 2018 Posts: 3334 Location: Endwell NY USA
Posted: Sun Dec 24, 2023 1:54 pm Post subject:
Richard III wrote:
The thing that really hit me was the aperture size. That gave me an increased range at very soft playing and a huge increase in endurance.
---------------------------
That's interesting to me, especially from the view of 'how were you taught', and did controlling the size previously seem 'wrong' or 'unneeded'?
Have your views / feelings about 'air speed' or 'air pressure' changed?
In addition to the illustration with various sized straws, can you suggest a verbal explanation regarding control of aperture size , even without going into specifics about size and shape, the relation of lips to air 'speed / flow / pressure'. _________________ Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'.
Joined: 22 May 2007 Posts: 2666 Location: Anacortes, WA
Posted: Sun Dec 24, 2023 3:08 pm Post subject:
JayKosta wrote:
Richard III wrote:
The thing that really hit me was the aperture size. That gave me an increased range at very soft playing and a huge increase in endurance.
---------------------------
That's interesting to me, especially from the view of 'how were you taught', and did controlling the size previously seem 'wrong' or 'unneeded'?
Have your views / feelings about 'air speed' or 'air pressure' changed?
In addition to the illustration with various sized straws, can you suggest a verbal explanation regarding control of aperture size , even without going into specifics about size and shape, the relation of lips to air 'speed / flow / pressure'.
Originally I was taught nothing and had range up to double G on a 1.5C Bach mouthpiece. That worked for years until I gave up playing to pursue a new major in college and a career after that.
When I came back to playing, I studied books like Claude Gordon method. But nowhere did I ever see the concept of large straw to tiny straw for ranges applying to aperture size. I did get a lot from Pop's concept of lengthening the aperture tunnel and keeping the outer portion relaxed. Each piece of the puzzle adds more to the concepts in mind when playing _________________ Richard
Posted: Sun Dec 24, 2023 10:52 pm Post subject: Re: Playing high with just sighing
supercow216 wrote:
Hi,
I have been practicing Balanced Embouchure by Jeff for 8 months, with some success with both RI and RO. My top note was a high C but not very inconsistent.
After testing back and forth, I found the only way to play this way is to have the lower jaw protruding, and play in the "upstream" (made-up word) style. Every note up to high C is suddenly clear and smooth as butter. When going higher than that, I need to "open my throat more" (sorry I have no idea how to explain this transcending feeling), like you should be "puking" to play high???.
Interestingly, my top lip definitely roll in and out freely as BE indicated but my lower lip is locked due to the protruding jaw. TOL now also feel very normal, with no discomfort. With this settings however, I can't do RO and RI, or squeaking and have to do them isolatedly. But as Jeff said, practing BE and playing with your normal embouchure!
Like I said, the feeling was quite dope!!!! Does anyone practice this sigh approach?
He's taking the long way around the block to describe what I think of when I play - I just describe it as a "huuuh" sensation when playing. I don't think of driving from my abdomen, I think of it coming from my chest which of course *is* where the air comes from.
I don't know why it would require adopting any special embouchure formation. _________________ Getzen Eterna Severinsen
King Silver Flair
Besson 1000
Bundy
Chinese C
Getzen Eterna Bb/A piccolo
Chinese Rotary Bb/A piccolo
Posted: Wed Apr 24, 2024 3:35 am Post subject: efficiency
[quote="kalijah"]I have watched the videos by Paul. He really does not explain exactly what he means by the sigh breath. Perhaps he means using only the elastic recoil of full lungs for air pressure. He may be discussing the inhalation or an attempt to drop the jaw or open the throat. He simply does not make that clear or explain it thoroughly.
[/quote]
The idea about the "sigh" is to take a deep breath, not too much, and then to breathe out with just enough compression to do the excercise. The important part here is to set your embouchure to be able to 'just' do the excercise at the beginning.
With 'just' I mean, when you are not sure you might get the note out or you may get effects which may not immediately form a clear tone and also setting 'just enough' compression for 3-4 octaves so basically attempting a Walt Johnson and Reinhardt "manoeuvre" whilst still in ready mode for a tongue "spit" articulation and modern 21st century classical.
The idea here is to be able to "filter out" unwanted side effects whilst using "tone soflege" to try to hit your "tone" and "note" target.
Eventually also include the "spit" technique, and 21st century classical, to form an articulated note without strain.
Perhaps also try to do some "timed slotting" and scales, long tones and so on, always keeping in mind the additional octaves.
think: Arban 2.0
Embouchure formation:
The important aspect here is that you must be able to feel the articulation and tone, in a similar manner to when you 'just' picked up the trumpet at the very beginning when you started playing.
Only now you are at a different level so your lower notes and your highest note are now at a different place in a new to be formed embouchure.
Cat Anderson method:
Cat Anderson (for example) used the "whisper" for this, in order to keep track of how the embouchure felt, and was therefore very able to play the highest notes. However, the "whisper" as many players demonstrate it, may sound different from your "whisper", as long as you realise you are attempting a modern embouchure formation.
21st century trumpet:
A trumpet player I can highly recommend is Clement Saunier. He demonstrates in his album how he applies the modern technique. However, one thing you must be aware of in this context is EFFICIENCY.
The "sigh" may help with efficiency as well, and also to listen carefully to the doc, but perhaps not too carefully; like for example perhaps not wise to cross your front teeth, ..., but rather your fingers when you practice.
As my former classical trumpet teacher would say: "Laanen, ik heb altijd veel waardering voor u gehad ondanks het feit dat u altijd het laatste woord heeft willen hebben. Waarop Theo antwoordde 'had ik dat dan meneer?' "
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