Comeback Embouchure Pursuits

Tim W · Posted: Fri Jan 20, 2006 8:23 am Post subject: Comeback Embouchure Pursuits

Of all the techniques available, for a comeback player, which would be the most fundementally sound, in a broad sense, to study in terms of embouchure development/reformation? Stevens, Maggio, Farkas, Callet. BE- Smiley, etc.? How about some constructive opinions based on experience. Thanks!

Don Herman rev2 · Posted: Fri Jan 20, 2006 1:00 pm Post subject:

Why not just study sound and let it guide your embouchure development instead?

If you must embouchurize yourself, I suggest an indirect method using Stamp. Caruso, or BE.

Others can and will disagree, but there's my 0.000001 cents. - Don
_________________
"After silence, that which best expresses the inexpressible, is music" - Aldous Huxley

swthiel · Posted: Fri Jan 20, 2006 2:04 pm Post subject:

plp · Posted: Sat Jan 21, 2006 6:48 am Post subject:

If you have the finances, buy all the method books you can, and read, read, read. Continue your present practice routine, but read what they all advocate.

Look for all the similarities. If 8 out of 8 advocate first putting the mouthpiece to your lips and taking a breath, you can bet that is a pretty good start.

Cull through for the other 'essential truths', and look at what is proposed by those who turn away from the herd.

If time and finances are limited, the Smiley book is the way to go.

Tim W · Posted: Sat Jan 21, 2006 7:40 am Post subject:

Yes, Yes, and thanks, plp! I've an extensive method library and have compiled the consistencies. Two things I am learning: 1) Go back to your roots, and 2) Don't think to much!... Just listen and evaluate. Was it Doc who said " When you're done asking questions, just get down to some consistent, intelligent practicing" ? The flat chin, semi-pucker, semi-open aperature is what always worked for ME, ala Farkas. I've come to realize than no one embouchure technique is the best. Everybody's different, plus the broken mandible I suffered 16 yrs. ago has been another obstacle. Did'nt have that to contend with 35 yrs. ago! Thanks, all y'all, for the great advice!

plp · Posted: Sat Jan 21, 2006 1:56 pm Post subject:

Another good tidbit I read here long ago, and I think ARB was the one who put it in perspective, is think of practice as the equivelent of the driving range and the putting green at the golf course. You don't spend all your time hitting the shots you know you can make, you practice the shots you can't make.

When you get ready to perform, put the trumpet to your lips, hit it hard and wish it well. Performance is the time for musical expression, not conscious thought about embouchure, technical issues, etc. By that point, it is all about the music, and clear all the other stuff out of your mind. Sure, others may say differently, and if the make their living with the trumpet as that is their occupation, they approach it differently than you or I. Just as I'm sure Tiger Woods is thinking about some of the finer points of his game, I doubt he is wondering if he needs to close his hands, or club up, or change stance. What we do when we practice is what we will do when we perform, because at that point it should be automatic.

Tim W · Posted: Mon Jan 23, 2006 8:16 am Post subject:

Well, thanks, y'all!... I'm just going back to my roots- flat smile, corners down, flat, slightly dropped chin, slight open chops. That worked the best through the 60's, for me, and the guys who I chose to emulate back then seemed to do well -i.e.- Severinsen and James. For about a week now, this re-approach is working! Muscle memory?.... I figure that if I'm taking all this time and thinking about all the different techniques, then that is time I lose in practice.