| View previous topic :: View next topic |
| Author |
Message |
trptdoc
Veteran Member
Joined: 01 May 2003
Posts: 246
|
 Posted: Thu Mar 30, 2006 3:44 pm Post subject: |
 |
|
Hi Ole!!
As you know I was deeply envolved in the evaluation of CG's "chest up" theory. It definitely simplifies things--- just always think "chest up", and it definitely produces results. As I have lived nearly 25 years since those first studies and worked with a lot of students, I think there are definitely some other aspects that can help. Bobby's "Hatha Yoga" breath-- that he got from Bud Brisbois who got it from Maynard--- takes more thought and time to learn but the support of the abdominal "wedge" really helps students get the idea of "compression" especially for long passages and the altissimo, also letting the shoulders down and maitaining the compression relieves a lot of upper back(especially the left medial scapular area) pain and spasm. I've treated a fair number of older, busy playing trumpet players with problems there-- physical therapy and occasionally an injetion of local anesthetic has been necessary to break the cycle of spasm/playing/recurring spasm. Learning the "Yoga" breath cures the problem. That said-- I think most of CG's good students did the abdominal support thing without thinking about it. I think the diaphragm still responds the same way to the changing pressures around it as we saw on the original studies with the fluroscope.
The older I get the more I know I don't know.
Best of everything,
Larry
_________________
"Big Breath Chest Up", "Hit 'Em Hard and Wish "Em Well", " Take It Farther than I Did" |
|
| Back to top |
|
 |
dow30
Regular Member
Joined: 31 Mar 2004
Posts: 94
Location: NY
|
| Posted: Thu Mar 30, 2006 4:05 pm Post subject: |
|
|
| In reference to bg's post about his experinences with Clark Terry, CT always emphasizes you should be able to buzz a tune on your lips, the valves just make it easier. If it doesn't come out of your lips, it ain't gonna come out of your horn! |
|
| Back to top |
|
|
mateo
Veteran Member
Joined: 05 Jan 2006
Posts: 105
Location: Albuquerque, NM
|
| Posted: Mon Apr 03, 2006 9:52 pm Post subject: |
|
|
| Quote: | The "walking in and out of the mouthpiece" exercise requires that the
player maintain the same pitch. Reflexively, this encourages a tightening
of the corners, and a firming of the embouchure.
|
I'm "walking in and out" in the car , with the mouthpiece ,on the way to
the gig.
so this is a completely different setting, kind of like the setting for screaming? I can't seem to figure how you can buzz the same pitch on the mouthpiece as the free buzz without changing the setting a little. It seems that the mouthpiece functions to hold the meat in that position so it will buzz the higher pitches but as soon as you take it off you need to flex a little more to get that pitch. I Guess what I'm wondering is, is it ok for your emboucher to have to adjust when removing the mouthpiece? If not what how does this tuck and roll setting work and do you use it for regular practice on the horn and for performing or is it strictly a corrective thing as you say? thanx
mateo |
|
| Back to top |
|
|
bg
Heavyweight Member
Joined: 12 Oct 2003
Posts: 1292
Location: boulder, colorado
|
| Posted: Tue Apr 04, 2006 1:31 pm Post subject: |
|
|
This is the setting I use in playing. The key is to keep the corners
firm. As you add the horn, you can relax the center a bit, but
do not relax the corners.
In the seven years that I have been working with these exercises,
my range has increased significantly, and my endurance has become
a non-issue.
Before I got used to it, I couldn't figure out how to maintain the pitch,
either. Simply start with the lip buzz, and then move the mouthpiece
to it's position, while buzzing, instead of vice-versa. You'll figure it
out. I'd ask you to come by my office, but there are forces in our
environment that are not comfortable with me teaching you. I'm
terribly sorry about this.
BG |
|
| Back to top |
|
|
mateo
Veteran Member
Joined: 05 Jan 2006
Posts: 105
Location: Albuquerque, NM
|
| Posted: Tue Apr 04, 2006 9:10 pm Post subject: |
|
|
thanks a bunch anyway, I totally understand the situation there. (Part of my reason for leaving) and I appreciate the response sooo much.
thanks
mateo |
|
| Back to top |
|
|
Mr.Hollywood
Heavyweight Member
Joined: 14 Dec 2002
Posts: 1730
|
| Posted: Fri Apr 14, 2006 8:02 pm Post subject: |
|
|
| trpt.hick wrote: | I am not aware of any place or time where Mendez professed lip buzzing. He did advocate mouthpiece buzzing as an exercise (in moderation). But, on the other hand, I do not know of any time when Mendez discussed lip buzzing at all. So, it is difficult to say whether he liked it or not.
DH |
How can you say that when its right on page 144 of the book that your wife wrote, the "Magnificent Mendez".
It says regarding the warm up period, "A few minutes of lip buzzing followed by soft practice in the low register will usually activate the muscles."
Dr. Jane W. Hickman also writes on page 140 that Mendez recomended "practicing a loosening buzz throughout the day" to help loosen stiff lips.
"Magnificent Mendez" is a great book, very interesting and well written. I highly recomend it to all trumpet players.
Chris |
|
| Back to top |
|
|
trpt.hick
Rafael Méndez Forum Moderator
Joined: 16 Jul 2004
Posts: 2632
|
| Posted: Sat Apr 15, 2006 6:29 am Post subject: |
|
|
Chris,
Thanks for the reminder. Cool.
Dave |
|
| 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
|
