Joined: 23 May 2002 Posts: 248 Location: Springfield, MO
Posted: Sun Aug 07, 2022 6:17 pm Post subject: One of the Cool Things about Reinhardt…
Once you know your type and your pivot classficiation, and you have it “down”, then all of a sudden the exercises and “routines” from other “systems” are now available to you.
I would imagine the Caruso 6 notes, 2nds, etc would benefit me now, too. Same with the Claude Gordon exercises (not all of his instruction, mind you, but the exercises).
Joined: 28 Dec 2001 Posts: 6437 Location: AVL|NC|USA
Posted: Mon Aug 08, 2022 4:10 am Post subject:
I remember Doc telling me that if I was playing “correctly” (as you mentioned, Donovan, according to my correct type and pivot classification) I could practice anything and improve. As a IIIB at the time he told me not to *practice* pedal tones, however. He also said that on a gig I had to do whatever the music required (even in the case of pedal tones) no matter what. But if I was practicing “correctly” I would always be building up, not tearing down. _________________ Puttin’ On The Ritz
Joined: 23 Mar 2003 Posts: 9151 Location: Hawai`i - Texas
Posted: Mon Aug 08, 2022 5:45 am Post subject:
What, specifically, was your "Reinhardt Moment", Donavan"? Simply "typing" your embouchure is just a statement of fact. How did you use this knowledge? Thanks. _________________ "If you don't live it, it won't come out of your horn." Bird
"Well, even if I could play like Wynton, I wouldn't play like Wynton." Chet Baker
Joined: 23 May 2002 Posts: 248 Location: Springfield, MO
Posted: Mon Aug 08, 2022 8:56 am Post subject:
Well, several things...
1. I'm naturally a Type IV, low placement, upstream player. However, whether it was band directors, private teachers, or my own self analysis, I felt I needed to play with a higher placement, making me a IIIB. But I was having all kinds of issues as a IIIB, since it's not the type that works best with my physiology, that I couldn't get resolved no matter how many teachers I had or how much practice I did. I was not aware of the validity of the low placement, or Type IV - and didn't know that it was ADVISABLE to switch back until finding Reinhardt.
2. I had the typical misunderstanding of the pivot. I thought it had to to with tilting the bell/angle of the mouthpiece, and therefor didn't give it much thought. Learning about the motion of the embouchure track opened up flexibility, more easily accessed range, and for me, the ability to come down after playing at the top of my range (I would often get "stuck" and have to reset to play anything lower). This left huge gaps in my playing.
3. I was unaware of the inhalation "slump" and the fact that I wasn't using it was causing me to increase tension on every breath as I would play. Dave Sheetz caught that in one of my first lessons, and that has been a game changer in terms of playing with more effeciency.
Joined: 23 Mar 2003 Posts: 9151 Location: Hawai`i - Texas
Posted: Mon Aug 08, 2022 9:54 am Post subject:
Thanks, Donovan. _________________ "If you don't live it, it won't come out of your horn." Bird
"Well, even if I could play like Wynton, I wouldn't play like Wynton." Chet Baker
Joined: 29 Mar 2005 Posts: 605 Location: Newark, NJ
Posted: Mon Aug 15, 2022 1:24 pm Post subject:
Great topic and great point, Donovan.
I have applied Reinhardt principles to Caruso and Bill Adam material (skipping the leadpipe buzzing) and found the results to be pretty darn good (I took lessons with well-known Caruso/Adam students who walked me through the material, before I took Reinhardt lessons). I did it before gigs and was quite happy with how everything went.
I did return to the Reinhardt material after a short while because I found, for me, that though I liked what the Caruso and Adam did for my chops, I personally preferred the way I sounded and felt with Reinhardt. I hope that won’t offend anyone, as I’m well-aware that many trumpet heroes of mine use these approaches and sound amazing. Actually, their success is part of what made me want to try it in the first place.
Sometimes you may need a “break” from Reinhardt material and there are many options you can try that are also Reinhardt student-created. I would certainly add Chris LaBarbera’s Warm Up 57, and Rich Willey’s Warm Up Magic book to the list of material. There’s plenty more as well. It’s also not a bad idea to be able to invent your own warm up sometimes, or not practice any drills at all for a few days or so, if you need a break. _________________ Josh Mizruchi
http://www.joshmizruchi.com
3. I was unaware of the inhalation "slump" and the fact that I wasn't using it was causing me to increase tension on every breath as I would play. Dave Sheetz caught that in one of my first lessons, and that has been a game changer in terms of playing with more effeciency.
Can you explain the 'inhalation slump' a bit more? I have an guess what it might mean but am not 100% sure. (I'd be interested in a video about this if you're up for it!)
Joined: 10 Oct 2006 Posts: 1191 Location: Silver Spring, MD
Posted: Tue Aug 16, 2022 8:40 am Post subject:
It's the point of diaphragm relaxation, when you still have some air left that you could push out with effort, but you haven't inhaled yet.
You spend a lot of your non-trumpet-playing time in that relaxed position, and only inhale when you need oxygen.
Treat playing the same way. Only inhale what you're actually going to use for a given phrase. End back at the relaxed point, or "slump" in Reinhardt's terminology.
Awesome video - thanks for posting it! I think this will have to go on my "Corrections" list as I don't think I'm doing it or not as much as I should etc. Glad I asked!
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