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Some Vincent Cichowicz Questions


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Kevin Good
Regular Member


Joined: 08 Oct 2003
Posts: 68

PostPosted: Fri Jan 16, 2004 4:46 am    Post subject: Reply with quote

Sorry, but I just re-read my post and wanted to make one slight correction--

Where I wrote

"Now, don't hate me for saying this, but you go on to describe how much better your
playing and your "head" got when you got away from Vince."

I should have added an "and"

" Again, I believe you--AND-- have no doubt that anyone who heard you would agree."

Not a big difference,(shades of meaning) but I want to mean what I say and say what I mean. Typing is not one of my strong points.

KG
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Atomlinson
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Joined: 21 May 2002
Posts: 327
Location: Somerset England

PostPosted: Fri Jan 16, 2004 5:05 am    Post subject: Reply with quote

Hi Kevin

You can "edit" a post after you've posted it (see Edit logo at bottom of post)...I use it all the time.

Andrew Tomlinson

[ This Message was edited by: Atomlinson on 2004-01-16 08:06 ]

[ This Message was edited by: Atomlinson on 2004-01-16 08:09 ]

[ This Message was edited by: Atomlinson on 2004-01-16 08:09 ]

[ This Message was edited by: Atomlinson on 2004-01-16 08:10 ]

[ This Message was edited by: Atomlinson on 2004-01-16 08:10 ]

[ This Message was edited by: Atomlinson on 2004-01-16 16:55 ]

[ This Message was edited by: Atomlinson on 2004-01-16 17:18 ]

[ This Message was edited by: Atomlinson on 2004-01-17 02:50 ]

[ This Message was edited by: Atomlinson on 2004-01-17 03:09 ]
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stevewark
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Joined: 17 Jan 2004
Posts: 1

PostPosted: Sun Jan 18, 2004 2:08 pm    Post subject: Reply with quote

I suppose the message that Mr Cichowicz stressed the most (to any player fortunate enough to study with him) was to play with a full vibrant sound on any part of the scale. Uniformity is important as we ascend or descend.This type of playing can be heard all over the world by many great players who studied with him. The start of the note was important with V.C and some students were successful with a full relaxed beginning and others were not. Some froze up even more. His concept is good and with most things in life, you need to appreciate the big picture. I studied with Mr Cichowicz for several years but considered Arnold Jacobs to have even a greater influence on my playing. Both had similar ideas but the delivery was different. Both great men.
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FTee
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Joined: 30 Dec 2003
Posts: 454

PostPosted: Tue Jan 20, 2004 2:10 pm    Post subject: Reply with quote

Mr Good,

Sorry about the delay in responding -- I actually have to work for a living outside of music thanks to Mr. Cichowicz. JUST KIDDING! (I hope that last comment doesn't result in some aggrieved VC student beating me to a pulp with a telephone-book sized volume of flow studies.)

I respect the points you make, as well as everyone else's. Suffice it to say that we have differing views on the effectiveness of VC's teaching, and in the interest of not wearing out this discussion topic I will let my earlier comments stand by themselves.

Buona fortuna out there in Detroit.

FTee
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MidNiteHorn
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Joined: 27 Feb 2003
Posts: 9

PostPosted: Tue Jan 20, 2004 8:07 pm    Post subject: Reply with quote

I am not a V.C student but I do have an edition of his Trumpet Flow Studies which was given to me by one of his former students of the late '50's or early '60's and with whom I studied for a while a few years ago. I like V.C.'s approach to trumpet playing and to his pedagogical philosophy. I am a comeback player and I find his Flow Studies excellent for warm-up and general practice. He has a forward in my edition and for those who may not have seen it before I am reproducing it below.

"These studies are an important medium in which to develop a free, flexible production of sound upon which all aspects of trumpet technique depend. It would be a mistake to view them solely as a means to develop finger dexterity. Herbert L. Clarke, who deplored so-called 'long tone ' studies, espoused the practice of material with movement instead of long tones (i.e: Technical Studies) and is the forefather of this concept. These studies are an extension and elaboration of this principle. They are most effective when practiced at moderate speeds, taking care to produce a clear, flexible sound and that the connection of the notes be smooth and without distortion. I view finger dexterity as a collateral benefit rather than the main purpose of these studies. Further benefit may be had by utilizing various articulations and transpositions."

Don Olmsted
Albertville, MN

"He who knows every note more thoroughly understands the effect".
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riffdawg2000
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Joined: 13 May 2003
Posts: 1153
Location: Atlanta, GA

PostPosted: Wed Jan 21, 2004 4:22 am    Post subject: Reply with quote

I know Clarke hated 'long tones' and VC did not recommend them either ... at least on a daily basis ...

But, I feel that there are just times that long tones are meant to be used ..... especially when trying to loosen the lips back up the day after and extremely hard night of playing ...

Thoughts?
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Joel Thomas
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Karel
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Joined: 20 Dec 2001
Posts: 492
Location: The Netherlands

PostPosted: Wed Jan 21, 2004 9:36 am    Post subject: Reply with quote

Anyone know which equipment VC uses? Does he recommend anything about trumpets and/or mouthpieces to his students?

Karel
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riffdawg2000
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Location: Atlanta, GA

PostPosted: Wed Jan 21, 2004 10:47 am    Post subject: Reply with quote

Isn't he endorsed by Selmer?? (i.e. Bach)
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Joel Thomas
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MidNiteHorn
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Joined: 27 Feb 2003
Posts: 9

PostPosted: Fri Jan 23, 2004 6:28 pm    Post subject: Reply with quote

I agree, Joel Thomas, long tones are useful. I use them as you suggest and also during warm-up. Long tones also help to develop good sound for the beginner.

Don Olmsted
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Satchel
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Joined: 12 Apr 2021
Posts: 30

PostPosted: Thu Apr 22, 2021 1:38 pm    Post subject: Reply with quote

https://www.youtube.com/watch?v=vyrkF3sMRxk

https://www.windsongpress.com/jacobs/written/HENDRICKS,%20BRITTANY%20-%20PEDAGOGICAL%20METHODS%20OF%20VINCENT%20CICHOWICZ.pdf

http://ojtrumpet.net/tpin/Adam_and_Cichowicz.html
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