| View previous topic :: View next topic |
| Author |
Message |
LyonLover
Regular Member
Joined: 21 Aug 2018
Posts: 49
|
 Posted: Sun Mar 05, 2023 3:00 pm Post subject: MPC placement too low - airballs? |
 |
|
I have been looking into my exact mpc placement and it looks like the top rim of the mouthpiece of over the top lip to some extent. I also push the lip over slightly to avoid playing on cupids bow, that's the only thing that works.
The issue is though, after i've played a good bit I start to get airballs/lost response in the upper register. I can't play 16 bars of an etude and then sustain a G on top of the staff at the end of it when i'm fatigued. Now if I reset, I can do it, but not going straight.
If I move the mpc higher, my tone and range suffer GREATLY. I have a very nice tone for a college non major playing as I do, however the endurance problems really cause me a lot of trouble sometimes. I play every day, between 3 and 5 hours a day depending on whats going on. Occasionally i'll just play periodically all day, but usually it's limited to about 5 hours.
Looks like I am the dreaded type IVA as well. I know it's hard to self type, but the reeceded jaw and low placement (upstream) with a donward horn angle strongly point to that, unfortuanatley. |
|
| Back to top |
|
 |
Bethmike
Veteran Member
Joined: 21 Jan 2020
Posts: 194
Location: NW of ORD
|
| Posted: Sun Mar 05, 2023 3:15 pm Post subject: |
|
|
Hard for anyone to say without watching you play. But it sounds like it could be similar to my experience. Read this thread. https://www.trumpetherald.com/forum/viewtopic.php?p=1664490
My lower lip was weak and flabby while playing. The Hickman Lip Bends strengthened my lower lip AND taught me how to engage it properly.
https://www.youtube.com/watch?v=ufEbGCU6LbQ
Look at pictures of a mid-career Maynard and look at the bulge beneath the mouthpiece. After 4 months of performing the Lip Bends, I now properly engage the lower lip, it now seems to protrude (bulge? flex?) so that my upper and lower lip seem equally capable of supporting the mpc, and my mpc no longer wants to slide downward. I also moved my mpc placement up a bit. I also have a cupids bow.
Can't say that this is the answer, but I am pretty sure time spent on the exercise will not be wasted!
Mike
_________________
Bach190ML43
Kanstul 1001
Bach NY7
Yamaha 631 Flugel |
|
| Back to top |
|
|
JayKosta
Heavyweight Member
Joined: 24 Dec 2018
Posts: 3298
Location: Endwell NY USA
|
| Posted: Sun Mar 05, 2023 3:25 pm Post subject: |
|
|
| LyonLover wrote: | ...
Looks like I am the dreaded type IVA as well. I know it's hard to self type, but the reeceded jaw and low placement (upstream) with a donward horn angle strongly point to that, unfortuanatley. |
------------------------------
There should be 'active' and 'controlled' use of rim pressure on your lower lip.
That doesn't mean changing basic embouchure, mouthpiece placement, or horn angle - ONLY that the distribution of rim pressure between upper and lower is controlled in a way that contributes to best playing.
_________________
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'. |
|
| Back to top |
|
|
LyonLover
Regular Member
Joined: 21 Aug 2018
Posts: 49
|
| Posted: Sun Mar 05, 2023 3:29 pm Post subject: |
|
|
| JayKosta wrote: | | LyonLover wrote: | ...
Looks like I am the dreaded type IVA as well. I know it's hard to self type, but the reeceded jaw and low placement (upstream) with a donward horn angle strongly point to that, unfortuanatley. |
------------------------------
There should be 'active' and 'controlled' use of rim pressure on your lower lip.
That doesn't mean changing basic embouchure, mouthpiece placement, or horn angle - ONLY that the distribution of rim pressure between upper and lower is controlled in a way that contributes to best playing. |
How can you put more pressure on the lower lip without bringing down the horn angle?.. but yeah, in theory if the pressure can be more evenly distributed I agree it would do wonders |
|
| Back to top |
|
|
JayKosta
Heavyweight Member
Joined: 24 Dec 2018
Posts: 3298
Location: Endwell NY USA
|
| Posted: Sun Mar 05, 2023 3:43 pm Post subject: |
|
|
| LyonLover wrote: |
How can you put more pressure on the lower lip without bringing down the horn angle?.. but yeah, in theory if the pressure can be more evenly distributed I agree it would do wonders |
--------------------------------
Jaw pressure can be used to slightly 'compress' the tissue of the lower lip to increase the pressure on the lower lip. That can also affect the perceived feeling of pressure on the upper lip. Actual movement of the mouthpiece is not required.
The distribution of pressure does not need to be equal - the goal is to find the pressure distribution that facilitates best lip action.
For me, low pitches have high % of upper pressure, mid-range about equal %, and high-range more % on lower lip (to ALLOW the upper to vibrate) - ymmv
The TOTAL amount of pressure will also vary depending on range - I am most concerned with pressure distribution % for best lip response.
_________________
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'. |
|
| Back to top |
|
|
Doug Elliott
Heavyweight Member
Joined: 10 Oct 2006
Posts: 1169
Location: Silver Spring, MD
|
| Posted: Sun Mar 05, 2023 3:47 pm Post subject: |
|
|
Why do you say "I am the dreaded type IVA" ?
It's just as valid an embouchure type as any other, and it can work extremely well if everything about it is correct... but evidently it's not in your case.
Without seeing you, I'd say the first thing to try is a lower placement. It's not unusual for a IVA (if that's really what you are) to use almost no top lip.
As for mouthpiece pressure, use your jaw position to adjust the lip pressure ratio, it doesn't have to be exclusively your horn angle. Always try for more bottom lip pressure than top.
Mostly, I suggest a Skype lesson with either myself or Dave Wilkin, who is a IVA himself. |
|
| Back to top |
|
|
donovan
Veteran Member
Joined: 23 May 2002
Posts: 248
Location: Springfield, MO
|
| Posted: Sun Mar 05, 2023 8:43 pm Post subject: |
|
|
| Doug Elliott wrote: | | Mostly, I suggest a Skype lesson with either myself or Dave Wilkin, who is a IVA himself. |
I want to second this suggestion. I was having an issue the night before a long rehearsal and Doug absolutely helped me via Skype, and I learned more about my pivot, which had helped me tremendously.
And recently my oldest son took a lesson with Dave and it was the best lesson he's ever had, so yeah, hit these guys up for lessons!
_________________
Donovan Bankhead
donovan@erniewilliamson.com
www.erniewilliamson.com |
|
| Back to top |
|
|
Robert P
Heavyweight Member
Joined: 28 Feb 2013
Posts: 2595
|
| Posted: Mon Mar 06, 2023 1:12 am Post subject: Re: MPC placement too low - airballs? |
|
|
| LyonLover wrote: | I have been looking into my exact mpc placement and it looks like the top rim of the mouthpiece of over the top lip to some extent. I also push the lip over slightly to avoid playing on cupids bow, that's the only thing that works.
The issue is though, after i've played a good bit I start to get airballs/lost response in the upper register. I can't play 16 bars of an etude and then sustain a G on top of the staff at the end of it when i'm fatigued. Now if I reset, I can do it, but not going straight.
If I move the mpc higher, my tone and range suffer GREATLY. I have a very nice tone for a college non major playing as I do, however the endurance problems really cause me a lot of trouble sometimes. I play every day, between 3 and 5 hours a day depending on whats going on. Occasionally i'll just play periodically all day, but usually it's limited to about 5 hours.
Looks like I am the dreaded type IVA as well. I know it's hard to self type, but the reeceded jaw and low placement (upstream) with a donward horn angle strongly point to that, unfortuanatley. |
What happened with the local teacher that you referenced in a post from last August who you thought was going to help you? Did you ever take any lessons with them? If so, what was the result? Are you taking lessons with anyone?
| Quote: | | I have been looking into my exact mpc placement and it looks like the top rim of the mouthpiece of over the top lip to some extent. |
This isn't clear enough to understand what you're trying to say. Can you restate this both with corrected grammar and explain more clearly and concisely what you mean? Everyone plays with some portion of the rim over the top lip. By "top lip" do you mean the white as opposed to the red? If not, what *do* you mean? Where is the inside edge of the rim in relation to your top lip red/white border?
| Quote: | | I also push the lip over slightly to avoid playing on cupids bow, that's the only thing that works. |
Where does the mp feel comfortable? I play right in the dead center on my cupid's bow.
While the right placement is important there's a lot more involved in creating a tone and moving around on the horn than the placement - it doesn't sound to me like you have a strong handle on the various elements and are going off on tangents imagining you have an understanding that doesn't match reality. Last year you were having basic functionality problems, it sounds like little or nothing has changed. Making conclusions about what your problem is on the basis of what sounds like -0- forward progress isn't a formula for success.
If you say you can't hold a top of staff G unless you reset after playing a 16 bar etude you've clearly got some issue with fundamental mechanics of playing. What specific etude is it?
Can you play from a low F# chromatically up to a high C and back down again both slurred and single-tongued?
_________________
Getzen Eterna Severinsen
King Silver Flair
Besson 1000
Bundy
Chinese C
Getzen Eterna Bb/A piccolo
Chinese Rotary Bb/A piccolo
Chinese Flugel |
|
| Back to top |
|
|
Wilktone
Heavyweight Member
Joined: 25 Aug 2002
Posts: 727
Location: Asheville, NC
|
| Posted: Mon Mar 06, 2023 6:25 am Post subject: |
|
|
Like Doug mentioned above, I am a Reinhardt Type IVA.
What makes a Reinhardt IVA so difficult to work with is that most teachers don't understand how this embouchure type functions correctly. I think the same applies to Reinhardt IVs as well, so it's not something inherent about the lowered horn angle. Upstream players, as a rule, tend to be more sensitive to things not working correctly compared with downstream players who can "get away" with playing less correctly more easily. With upstream players when everything is working correctly you will feel like a hero. When it's a little off it can start spiraling out of control pretty quickly. And since many things that upstream players need to do are exactly opposite of what the more common downstream types need to do, teachers who are unfamiliar with this tend to offer advice that is wrong for upstream.
A video lesson with Doug would definitely help straighten you out, regardless of what your actual embouchure type is. I should be able to help you too. There are many other folks that are familiar with the different embouchure types and how they function. I'd recommend you grab at least one good lesson from someone to get you pointed in the right direction.
Dave
_________________
wilktone.com |
|
| Back to top |
|
|
donovan
Veteran Member
Joined: 23 May 2002
Posts: 248
Location: Springfield, MO
|
| Posted: Mon Mar 06, 2023 6:42 am Post subject: |
|
|
| Wilktone wrote: | | With upstream players when everything is working correctly you will feel like a hero. When it's a little off it can start spiraling out of control pretty quickly. |
This is so true. I find that any little change can throw off my entire mechanics, and I have to sort out what is causing the problem. Fortunately, Reinhardt figured most of this stuff out already...
_________________
Donovan Bankhead
donovan@erniewilliamson.com
www.erniewilliamson.com |
|
| Back to top |
|
|
LyonLover
Regular Member
Joined: 21 Aug 2018
Posts: 49
|
| Posted: Mon Mar 06, 2023 7:03 am Post subject: Re: MPC placement too low - airballs? |
|
|
| Robert P wrote: | | LyonLover wrote: | I have been looking into my exact mpc placement and it looks like the top rim of the mouthpiece of over the top lip to some extent. I also push the lip over slightly to avoid playing on cupids bow, that's the only thing that works.
The issue is though, after i've played a good bit I start to get airballs/lost response in the upper register. I can't play 16 bars of an etude and then sustain a G on top of the staff at the end of it when i'm fatigued. Now if I reset, I can do it, but not going straight.
If I move the mpc higher, my tone and range suffer GREATLY. I have a very nice tone for a college non major playing as I do, however the endurance problems really cause me a lot of trouble sometimes. I play every day, between 3 and 5 hours a day depending on whats going on. Occasionally i'll just play periodically all day, but usually it's limited to about 5 hours.
Looks like I am the dreaded type IVA as well. I know it's hard to self type, but the reeceded jaw and low placement (upstream) with a donward horn angle strongly point to that, unfortuanatley. |
What happened with the local teacher that you referenced in a post from last August who you thought was going to help you? Did you ever take any lessons with them? If so, what was the result? Are you taking lessons with anyone?
| Quote: | | I have been looking into my exact mpc placement and it looks like the top rim of the mouthpiece of over the top lip to some extent. |
This isn't clear enough to understand what you're trying to say. Can you restate this both with corrected grammar and explain more clearly and concisely what you mean? Everyone plays with some portion of the rim over the top lip. By "top lip" do you mean the white as opposed to the red? If not, what *do* you mean? Where is the inside edge of the rim in relation to your top lip red/white border?
| Quote: | | I also push the lip over slightly to avoid playing on cupids bow, that's the only thing that works. |
Where does the mp feel comfortable? I play right in the dead center on my cupid's bow.
While the right placement is important there's a lot more involved in creating a tone and moving around on the horn than the placement - it doesn't sound to me like you have a strong handle on the various elements and are going off on tangents imagining you have an understanding that doesn't match reality. Last year you were having basic functionality problems, it sounds like little or nothing has changed. Making conclusions about what your problem is on the basis of what sounds like -0- forward progress isn't a formula for success.
If you say you can't hold a top of staff G unless you reset after playing a 16 bar etude you've clearly got some issue with fundamental mechanics of playing. What specific etude is it?
Can you play from a low F# chromatically up to a high C and back down again both slurred and single-tongued? |
No, I’ve made quite a lot of progress since then. Overall tone quality is much improved. Range improved from high C to G above high C in the matter of a few weeks. But lately (past 2 months) I have not been able to get the G anymore, i top out at Eb/E lately. Now in the past week for so, yes, it feels like I’ve regressed greatly because of endurance issues. The inability to hold out a G after the 16 bars is not the case usually, only when I'm very fatigued like right now.
I believe that my latest endurance issues are the result of too much pressure on the red membrane of top lip and overusing the PETE. What may also be causing issues is playing with a receded jaw. When i think about it now, I was pushing my jaw forward when I initially increased my range. I believe a receded jaw contributes to more top lip pressure in my case… classic IVA issue
Based on my readings of the Reinhardt method… If i am truly an upstream player (I likely am because low placement), this jaw difference is the difference between me playing as a IV and a IVA. IVA, as wikitone pointed out, is known to be delicate and fickle. Idk… we’ll see what doug says. |
|
| Back to top |
|
|
Craig Swartz
Heavyweight Member
Joined: 14 Jan 2005
Posts: 7769
Location: Des Moines, IA area
|
| Posted: Mon Mar 06, 2023 2:50 pm Post subject: |
|
|
| In my experience, "air balls" happen when the vibrating tissues are no longer in contact as the aperture has collapsed for one of a number of reasons. Unless your upper lip is completely out of the cup and off the rim, I'd do some searching elsewhere. |
|
| Back to top |
|
|
Robert P
Heavyweight Member
Joined: 28 Feb 2013
Posts: 2595
|
| Posted: Mon Mar 06, 2023 3:36 pm Post subject: Re: MPC placement too low - airballs? |
|
|
| LyonLover wrote: |
No, I’ve made quite a lot of progress since then. Overall tone quality is much improved. Range improved from high C to G above high C in the matter of a few weeks. |
Can you put up video of you doing what I outlined? Low F# to high C and back down chromatically - once slurred, once tongued.
_________________
Getzen Eterna Severinsen
King Silver Flair
Besson 1000
Bundy
Chinese C
Getzen Eterna Bb/A piccolo
Chinese Rotary Bb/A piccolo
Chinese Flugel |
|
| Back to top |
|
|
LyonLover
Regular Member
Joined: 21 Aug 2018
Posts: 49
|
| Posted: Mon Mar 06, 2023 7:22 pm Post subject: Re: MPC placement too low - airballs? |
|
|
| Robert P wrote: | | LyonLover wrote: |
No, I’ve made quite a lot of progress since then. Overall tone quality is much improved. Range improved from high C to G above high C in the matter of a few weeks. |
Can you put up video of you doing what I outlined? Low F# to high C and back down chromatically - once slurred, once tongued. |
https://youtube.com/shorts/aSH5lROQ4Kg
Slurred, this is an older video from a couple months ago. My low register probably sounds fuller now. I've also gone to Eb before. And i've done full 2 octave F major scales with a full sound. But the thing is, I can't do any of that right now tonight. Which is the source of all my frustration; inconsistency.
IMO I have the right mechanics when its working. But when something goes off, it goes very very wrong. I may be type switching which causes the downfalls in my playing. I am going to take videos of when I was playing well as well as videos during off times to a Reinhardt teacher.[/i] |
|
| Back to top |
|
|
Robert P
Heavyweight Member
Joined: 28 Feb 2013
Posts: 2595
|
| Posted: Mon Mar 06, 2023 9:54 pm Post subject: Re: MPC placement too low - airballs? |
|
|
| LyonLover wrote: |
https://youtube.com/shorts/aSH5lROQ4Kg
Slurred, this is an older video from a couple months ago. My low register probably sounds fuller now. I've also gone to Eb before. And i've done full 2 octave F major scales with a full sound. But the thing is, I can't do any of that right now tonight. Which is the source of all my frustration; inconsistency.
IMO I have the right mechanics when its working. But when something goes off, it goes very very wrong. I may be type switching which causes the downfalls in my playing. I am going to take videos of when I was playing well as well as videos during off times to a Reinhardt teacher. |
That's actually better than I expected it to be - I expected you to tell me you can't do it at all. It could be cleaner but the basic chops are working in that video.
| Quote: | | IMO I have the right mechanics when its working. But when something goes off, it goes very very wrong. |
Lol - that's from "Famous quotes of Captain Obvious". 
You know you're capable of it - assuming no disastrous issues with your teeth or lips, the change from it working to it not working can be very subtle and it *is* something you're doing differently. The horn doesn't change, the only variable is flesh and blood *you*. The trick is identifying in as much detail as you can what you need to do to make it happen the way you want. You're always walking a tightrope - even the best players hit clams and they didn't intend to - they might not have clammed that note in a performance the day or week before, it's just really easy to lose that balance - particularly if you don't really have a solid handle on how you achieved balance in the first place.
Here's a couple of things to try.
1. Play a second line G with a nice fat sound. Now, without removing the mp, stop the note. Then pucker your lips in unnaturally toward the mouthpiece, close your teeth too far. Try to play the G which won't come out - now change things to where the G *will* come out. Notice the difference.
Play a G, reduce the pressure to where it stops speaking, increase it to where it will speak. Throw the balance of the top/bottom lip pressure off and then bring it back.
The idea is to throw the chops out of whack and then feel what has to happen to make them back "in whack", what you need to do on a given note to have it sound good, what the balance of the use of the muscles, teeth and tissue needs to be. You'll find that the difference between sounds bad/won't happen at all and it sounding solid doesn't have to be much.
2. Play an F scale from first space to top line F tongued - hold out the top F for say four slow beats. Use lots of air and as little pressure as you can get away with to have it sound good - as you go higher drive that air. You won't be able to take away much pressure but see how little you can get away with and maintain a good sound. You've established you own that F.
Now starting again on the F go to the G on top of the staff and hold it - same thing - as little pressure as you can get away with, drive the air as you go higher. Then A, Bb etc. Lots of air, big sound, drive the air, see how high you can go, how much of that two octave F scale you can reclaim. You've done it before, you know your chops are capable of it, you need to find out *how* you did it and make it a habit.
Some things to be conscious of - how the top lip bears in on the mouthpiece which is going to be different than how the bottom lip bears in on it. I find there needs to be slightly less pressure on the bottom lip so it can drive up toward the top lip as I go higher.
Be aware of the space between your teeth - if they close up, the sound will cut off. Also the alignment of the teeth.
Be aware of what's going on with your tongue/oral cavity.
I find it helps if I push the bottom lip over the bottom teeth slightly when I'm setting the mouthpiece and am conscious of that feeling. The pressure comes off the bottom lip somewhat but that maneuver makes things work better for me. There does need to be top and bottom lip overhang of the teeth and intrusion into the air stream.
Last edited by Robert P on Tue Mar 07, 2023 8:54 am; edited 1 time in total |
|
| Back to top |
|
|
LyonLover
Regular Member
Joined: 21 Aug 2018
Posts: 49
|
| Posted: Tue Mar 07, 2023 7:05 am Post subject: |
|
|
| Robert P wrote: |
You know you're capable of it - assuming no disastrous issues with your teeth or lips, the change from it working to it not working can be very subtle and it *is* something you're doing differently. The horn doesn't change, the only variable is flesh and blood *you*. The trick is identifying in as great a detail as you can what you need to do to make it happen right. You're always walking a tightrope - even the best players hit clams and they didn't intend to - they might not have clammed that note in a performance the day or week before, it's just really easy to lose that balance - particularly if you don't really have a solid handle on how you achieved balance in the first place. |
Well said. Yeah, i know it’s there somewhere. I’m physically capable of nice Gs and As above high C. But finding them is the issue. Something mechanically gets off. That begs the question is it type switching? I’d be really happy if I could make my best playing the new normal consistent playing without the mechanical issues I’m having now. |
|
| Back to top |
|
|
Robert P
Heavyweight Member
Joined: 28 Feb 2013
Posts: 2595
|
| Posted: Tue Mar 07, 2023 7:47 am Post subject: |
|
|
| LyonLover wrote: |
Well said. Yeah, i know it’s there somewhere. I’m physically capable of nice Gs and As above high C. But finding them is the issue. Something mechanically gets off. That begs the question is it type switching? I’d be really happy if I could make my best playing the new normal consistent playing without the mechanical issues I’m having now. |
I wouldn't fixate on the Reinhardt stuff. I'd focus on what it feels like to play with a solid sound.
I have the Encyclopedia Of The Pivot System, looked at it some, found it kind of tedious. I actually talked to Doc Reinhardt once by accident, I called the number I found for the publishing company and apparently it was his home number. He was an interesting, blustery old guy, listened to him promote his system/books and tell me how knowledgeable he was for like 10 - 15 minutes straight.
I'll look at it again but it played -0- role in making improvements I've made from where I used to be. Couldn't tell you what "type" I am by the Reinhardt scale, probably some variety of downstream.
_________________
Getzen Eterna Severinsen
King Silver Flair
Besson 1000
Bundy
Chinese C
Getzen Eterna Bb/A piccolo
Chinese Rotary Bb/A piccolo
Chinese Flugel |
|
| Back to top |
|
|
JayKosta
Heavyweight Member
Joined: 24 Dec 2018
Posts: 3298
Location: Endwell NY USA
|
| Posted: Tue Mar 07, 2023 8:06 am Post subject: |
|
|
| Robert P wrote: |
I wouldn't fixate on the Reinhardt stuff. I'd focus on what it feels like to play with a solid sound. ... |
-----------------------------
I agree about "focus on what it feels like to play with a solid sound".
The goal is to discover and learn the 'mechanical aspects' that work for YOU - so they become your natural way of playing.
Reinhardt has a lot of info about various 'mechanics' and it can be a resource to help you find 'your way'.
_________________
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'. |
|
| Back to top |
|
|
donovan
Veteran Member
Joined: 23 May 2002
Posts: 248
Location: Springfield, MO
|
| Posted: Tue Mar 07, 2023 9:31 am Post subject: |
|
|
| Robert P wrote: | | I wouldn't fixate on the Reinhardt stuff. I'd focus on what it feels like to play with a solid sound. |
Robert - quite a brush off of a man who spent his life helping some of the world's best players, and accomplished more in the world of brass instruction than most every will.
OP: If you want a bag of tricks that might or might not work, follow Robert P's advice.
If you want evidence based solutions and a overall quicker/more consistent path to better playing, I know of no better approach than the Reinhardt approach.
_________________
Donovan Bankhead
donovan@erniewilliamson.com
www.erniewilliamson.com
Last edited by donovan on Tue Mar 07, 2023 10:27 am; edited 1 time in total |
|
| Back to top |
|
|
JayKosta
Heavyweight Member
Joined: 24 Dec 2018
Posts: 3298
Location: Endwell NY USA
|
| Posted: Tue Mar 07, 2023 9:59 am Post subject: |
|
|
| donovan wrote: | ...
If you want evidence based solutions and a overall quicker/more consistent path to better playing, I know of now better approach than the Reinhardt approach. |
----------------------
I assume you meant 'I know of NO better approach', and not something such as you 'now know' of a better approach.
For clarification, when you say the Reinhardt 'approach' - is that in reference to his way of analyzing a player and finding the best mechanics for each individual, or are you referring to some 'specific details' in printed or video material?
_________________
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'. |
|
| Back to top |
|
|
|
|
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum
|
Powered by phpBB © 2001, 2005 phpBB Group
|
