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kehaulani
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 Posted: Wed Apr 06, 2022 6:51 am Post subject: Define "Walk in"? |
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Don't want anyone to do my work for me, (can't seem to get an effective search going), so I'm just asking to be pointed in the right direction.
I have seen "Walk in" referred to and would like to know what it is. Not looking for micro-analysis, just so I know what they're talking about. Thanks.
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bach_again
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Joined: 03 Apr 2005
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Location: Northern Ireland
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| Posted: Wed Apr 06, 2022 9:14 am Post subject: |
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My understanding:
Buzz a pitch, and present the horn to your embouchure, continuing the same pitch through the horn.
I was taught this by Rich way back and again by Chris Labarbera - if I have misunderstood/remembered, Rich will set me straight.
It helps focus the chops - for me, the "flabby bottom lip" issue was addressed by this.
Mike
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kehaulani
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| Posted: Wed Apr 06, 2022 9:18 am Post subject: |
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Thanks, Mike. Makes sense in the context it was used in.
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JayKosta
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Joined: 24 Dec 2018
Posts: 3303
Location: Endwell NY USA
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| Posted: Wed Apr 06, 2022 9:28 am Post subject: |
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| bach_again wrote: | My understanding:
Buzz a pitch, and present the horn to your embouchure, continuing the same pitch through the horn. ... |
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Is there more to it than just 'present the horn to your embouchure' ?
That doesn't seem to imply or include anything I'd associate with the term 'walk in', or somehow finding / adjusting a particular setting position.
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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'. |
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bach_again
Heavyweight Member
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Location: Northern Ireland
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| Posted: Wed Apr 06, 2022 11:30 pm Post subject: |
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| JayKosta wrote: | | bach_again wrote: | My understanding:
Buzz a pitch, and present the horn to your embouchure, continuing the same pitch through the horn. ... |
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Is there more to it than just 'present the horn to your embouchure' ?
That doesn't seem to imply or include anything I'd associate with the term 'walk in', or somehow finding / adjusting a particular setting position. |
What do you associate with the term, and if you don't mind - I am interested where it was learned.
I didn't go into detail, but you do this on a wet embouchure to allow you to move a little should you misplace.
It helps you engage and become aware of the corners and establish the legs of the embouchure. For me it helps with the flabby bottom lip. I rarely do this now, but I was taught to do this at a time where I needed to do this. It's now in the toolkit for myself and my students should it be necessary.
It is important that you buzz as per Reinhardt's instructions. "a high mosquito like tone"
Best,
Mike
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Maestro Arturo Sandoval on Barkley Microphones!
https://youtu.be/iLVMRvw5RRk
Michael Barkley Quartet - Portals:
https://michaelbarkley.bandcamp.com/album/portals
The best movie trumpet solo?
https://youtu.be/OnCnTA6toMU |
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BeboppinFool
Donald Reinhardt Forum Moderator
Joined: 28 Dec 2001
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| Posted: Thu Apr 07, 2022 3:37 am Post subject: |
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My friend Mike pretty well summed it up. I would emphasize the fact that the buzz is uninterrupted . . . the buzz turns into a sound once contact is made with the mouthpiece. This way you know that you’re producing the sound on your horn the same way that you were producing a buzz with your lips. If the sound stops even for an instant then you have not correctly buzzed and walked into the mouthpiece (horn).
And yes, wet lips, although Doc told me that even if I didn’t think the mouthpiece landed exactly where I play to go ahead and let it turn into a sound and play the note anyway.
When I was a low placement IIIB it was easy to place the mouthpiece too high and I remember having some trouble with that 40 years ago. Now that I’m a IIIA it’s fine for me to place the mouthpiece “too high” because it’s almost impossible for me to place too high.
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JayKosta
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Location: Endwell NY USA
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| Posted: Thu Apr 07, 2022 4:59 am Post subject: |
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| bach_again wrote: | What do you associate with the term, and if you don't mind - I am interested where it was learned.
I didn't go into detail, but you do this on a wet embouchure to allow you to move a little should you misplace. ... |
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I was thinking of the words 'walk in' as 'common language' with more movement than just 'present' or 'place'. I have not done any real studying of Reinhardt's methods, and could not find an explanation of 'walk in' in the limited material that I did find.
Your mention of having wet lips and allowing movement is useful.
| BeboppinFool wrote: | | ... I would emphasize the fact that the buzz is uninterrupted . . . the buzz turns into a sound once contact is made with the mouthpiece. This way you know that you’re producing the sound on your horn the same way that you were producing a buzz with your lips. If the sound stops even for an instant then you have not correctly buzzed and walked into the mouthpiece (horn). ... |
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Thanks to both - I think I now have a better understanding of the process and its use.
Jay
_________________
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'. |
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