Embouchure Response and Another Question

[DanEuph]

Hi all, curious to know your thoughts! Recently started getting into the Reinhardt stuff and it's really interesting so far. I've started incorporating more 'HOO' attacks into my warmup, but I'm noticing that there's a lot of air passing the chops before the note actually speaks. I'm following the form, place, and breathe rules and I'm conscious about keeping the lips just touching. (I'm a IIIA, btw!) It feels like the air is blowing the chops open (I can hear the popping sound of my lips opening due to the air), and then it's taking a couple of seconds for the note to actually sound amidst the noise of air! Is this something that will get better over time?

Another question. I've seen a couple of articles mention that Reinhardt would instruct students to forget about anything Reinhardt-related when practicing pieces or non-Reinhardt routines; does anyone have any advice on how to turn that analytical switch off? I've got into trouble a few times by consciously thinking about chops when gigging or doing normal practice, especially when it comes to forming the embouchure!

My first post here, sorry for the wall of text!

Dan,

[Doug Elliott]

Keep up the gentle HOO at soft volume... Not an "attack" at all, more of a gradual release so you really get the feel of "just touching" and keeping it like that so you get rid of the delayed response issue.
If you "hear the popping sound of my lips opening" you're probably a bit more closed than "just touching."

As for "consciously thinking about chops" when playing music, that's an individual thing. Mostly you should forget about it but there may be times it's worth remembering to set properly or breathe through the corners or something else.

[DanEuph]

[JayKosta]

[DanEuph]

Here's an update so folks know how I fixed the problem! I had an online lesson with Doug, and he correctly diagnosed my pivot (I'm diagonally down to the left to descend and up to the right to ascend), and through practicing my pivot this way I noticed my placement wanting to drift ever-so-slightly off to the left. Once the mouthpiece settled over there, the response issues were resolved. I've also done some cheek-puff routines kindly given to me by Chris LaBarbera, and this has only solidified my placement over there as I get a powerful feeling for the "legs" in that spot.

More evidence to make sure you get your type and pivot sorted, as things might want to adjust when you start doing things the right way for your face!

[Destructo]

Does anyone happen to know where in the encyclopedia the Cheek Puff routine is?

[JoshMizruchi]

Reinhardt wanted you to forget his teachings on a gig, but when practicing music at home, it’s still pretty good to be mindful of his teachings.

Regarding turning the analysis off on a gig, I have a couple possible suggestions:

1). Don’t fight it. Counterintuitive perhaps, but sometimes the more you try to “fight” and “discipline” yourself to do something, the more persistent it becomes. What if you said, “Well, my mind is wandering a bit, how about that?” And just let it gently move back to the music. Easier said than done, I know, but it might help.

2). It sounds like it could be a symptom of anxiety. Try to calm your mind. Have you ever tried meditation? Dave Sheetz had me purchase a copy of Effortless Mastery by Kenny Werner. I found it helpful and enjoyable.

3). It could just be a honeymoon effect of the new teaching. It kind of happened to me too. As you get more acquainted with the material, it will become less of a big deal, and you will stop worrying about it.

HTH,

Josh
_________________
Josh Mizruchi
http://www.joshmizruchi.com

[DanEuph]