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AB baby
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Joined: 03 Sep 2023
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 Posted: Sun Sep 10, 2023 1:07 am Post subject: Type 4 issues |
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How would you guys describe your pivot (as far as how it feels on your legs) as you ascend past G above the staff?
I can get up to double G's but I have seen other type 4s like doc severinsen angle their head/face higher as they ascend, and I'm not sure why but my legs feel better when I angle my head a bit lower when I ascend since I can blow faster air as my mouth closes a bit more and if I try to mimic Severinsen's head movement I just get a very airy tone on the upper register and can't go past a high C above the staff, should I be concerned? Or just roll with it if it works?
Also, I've found double tonguing is weak for me as a type 4, is this common among type 4s? And how can I ensure that my legs stay set while double tonguing in order to make it nice and clean?
If it helps, I have 3 legs, 1 on my top tooth in the middle (as I have a slightly crooked middle tooth over the other), and the other 2 legs are on my bottom teeth more towards the sides, I like to think of them as a tripod in order to "stay on my legs".
Also I'm hoping the tone comes with time because I know upstream players don't have as good of a tone as downstream players.
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Love mariachi, jazz, marching band, and full orchestra |
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Doug Elliott
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| Posted: Sun Sep 10, 2023 4:50 am Post subject: |
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Do what works, at any given time. Expect that to change, because it will.
Parts of your pivot that don't seem to make sense are usually because of something you're doing in a DIFFERENT part of your range. You're either "not there yet" or "you passed it already"
Expect everything to change, because it will.
Use enough mouthpiece pressure (or more) on the bottom. Keep pressure off the top. |
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JoshMizruchi
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| Posted: Sat Sep 16, 2023 1:18 pm Post subject: |
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Are you thinking you might be a IV now?
It’s all very well to watch successful players and see what they’re doing, just always remember that what works for them may not work for you. There are also trumpet players out there who get into trouble because they tried to recreate someone else’s embouchure. This is a very bad idea, because it is an impossible task.
In the encyclopedia, Doc talks about how you should always think “individualism” throughout your entire brass playing life. This piece of advice is not only correct, but empowering.
By the way, he also says that anyone who doesn’t have a strong, usable high G is definitely doing something wrong. So if you have one, you are probably past that.
Josh
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AB baby
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| Posted: Sat Sep 16, 2023 1:47 pm Post subject: |
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| JoshMizruchi wrote: | Are you thinking you might be a IV now?
It’s all very well to watch successful players and see what they’re doing, just always remember that what works for them may not work for you. There are also trumpet players out there who get into trouble because they tried to recreate someone else’s embouchure. This is a very bad idea, because it is an impossible task.
In the encyclopedia, Doc talks about how you should always think “individualism” throughout your entire brass playing life. This piece of advice is not only correct, but empowering.
By the way, he also says that anyone who doesn’t have a strong, usable high G is definitely doing something wrong. So if you have one, you are probably past that.
I know I'm a 2 but I thought I'd get more replies for the type 4 since 4 and 2 are "identical" while playing, just that 4s are more common than 2s.
Also for high g do you mean like right above the staff? Or double G?
Josh |
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Love mariachi, jazz, marching band, and full orchestra |
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JayKosta
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| Posted: Sat Sep 16, 2023 2:34 pm Post subject: Re: Type 4 issues |
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| AB baby wrote: | How would you guys describe your pivot (as far as how it feels on your legs) as you ascend past G above the staff?
I can get up to double G's ... |
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What is your 'public performance' range - reliable, good sound, and part of a moving musical phrase?
That's what I understand 'having a usable note' means.
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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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JoshMizruchi
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| Posted: Sat Sep 16, 2023 2:39 pm Post subject: |
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High G is G above high C.
It doesn’t really matter to me what you call it, but I think thinking of it as “just high” and not “double high” makes it seem like less of a big deal. 🙂
Josh
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Doug Elliott
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| Posted: Sat Sep 16, 2023 2:43 pm Post subject: |
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I agree with calling that note "high G" but what do you call the one on top of the staff?
"Not high G" ?
"Sort of high G" ?
"Medium-high G" ?
I'm assuming you call 2nd line G "middle G," I think everyone does. |
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JoshMizruchi
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| Posted: Sat Sep 16, 2023 2:54 pm Post subject: |
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| Doug Elliott wrote: | I agree with calling that note "high G" but what do you call the one on top of the staff?
"Not high G" ?
"Sort of high G" ?
"Medium-high G" ?
I'm assuming you call 2nd line G "middle G," I think everyone does. |
Maybe we should use the Miles Davis mentality here: “The names of the notes speak for themselves!” 😆
But as far as teaching when you have to refer to it, saying “second line G”, “G above the staff”, “G above high C” makes the point clear without “taking a side.” Actually, Reinhardt I believe called it concert F above high Bb?
As long as everybody’s on the same page, I’m happy.
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Josh Mizruchi
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