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pedel tone problem



 
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cornetguy
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Joined: 03 Oct 2005
Posts: 41
Location: St. Paul, MN

PostPosted: Sat Nov 19, 2005 9:02 am    Post subject: pedel tone problem Reply with quote

i like the stamp studies, but i find when i do them the amount of pedel tones distort my embouchure and i wind up having playing problems. what am i doing wrong with the pedel tones

thanks
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airdyn
Heavyweight Member


Joined: 07 Feb 2003
Posts: 579

PostPosted: Sat Nov 19, 2005 9:40 am    Post subject: Re: pedel tone problem Reply with quote

cornetguy wrote:
i like the stamp studies, but i find when i do them the amount of pedel tones distort my embouchure and i wind up having playing problems. what am i doing wrong with the pedel tones

thanks


You may wish to pose this question in The Reinhardt Forum. Dr. Reinhardt was VIOLENTLY opposed to pedal tones. Go there and find out why.
airdyn
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mafields627
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Joined: 09 Nov 2001
Posts: 3470
Location: AL

PostPosted: Sat Nov 19, 2005 9:47 am    Post subject: Reply with quote

I'm not familiar with the Stamp method, but coming from a Balanced Embouchure approach, the pedal tones need to be balanced with notes which require the lips to roll in (as opposed to having them roll out with pedal tones). Also, I've found that pedal tones benefit me the best when I do them very last in my practice.
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Jansu
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Joined: 08 Aug 2004
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Location: Helsinki, Finland

PostPosted: Sat Nov 19, 2005 12:00 pm    Post subject: Reply with quote

I find that pedal tones center my embouchure, as in they help me find where the best sound/response is. It's hard to analyze what you are doing wrong. Are you playing the exercises correctly, and are you playing the pedals with the same set as in the 'normal' range of the horn. Ask a teacher in your area who is into pedals...
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BStrad43
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Joined: 15 Oct 2004
Posts: 287
Location: Southern California

PostPosted: Sat Nov 19, 2005 12:16 pm    Post subject: Reply with quote

http://www.livmusic.com/index.html

Check out his articles on "Stamping it Out". I have been messing around with this for about a month and it has made me aware of my chops and taught me to play more efficient. The goal is to keep a set face when playing in all the registers. Good luck.

Kevin
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swthiel
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Joined: 02 Apr 2005
Posts: 3943
Location: Cincinnati, OH

PostPosted: Mon Nov 21, 2005 6:28 am    Post subject: Reply with quote

cornetguy,

I'd suggest you make sure that you're doing the pedal notes correctly -- a teacher (who can hear and see what you're doing) should be able to help you with this. That said, here are a few comments.

I initially found it a LOT easier to play pedal tones incorrectly than to play them correctly. Make sure that you are not distorting your embouchure as you go into the pedal range (see Jansu's comment above). One of the big benefits I get from the Stamp I use is that my entire playing range is connected -- what I learned in connecting the pedal range to the normal range seems to have transferred to connecting my mid-range to my high range (such as it is).

I like the "Stamping It Out" discussion to which BStrad43 linked, and the Poper book (I finally got a copy!) also has some good clarification of the approach.

mafields627,

Many of the Stamp exercise start in low- to mid-register, descend down to the pedal range, and in many cases go gradually to the upper end of one's register. By the end of some exercises, I'll start at a low C, descend to the pedal C below that, and then go up to a C or E above the staff -- with a single set. (Yeah, I don't have a super range ...) I don't think about roll in and roll out, but I'm guessing that exercises like this accomplish the balance you're talking about.
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MrGBand
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Joined: 03 Sep 2004
Posts: 313
Location: Pennsburg, PA

PostPosted: Sat Nov 26, 2005 7:29 am    Post subject: Reply with quote

One thing to watch out for with the pedal exercises is the jaw. Make sure you are not playing the pedal tones by openning your jaw up more than normal. I believe Popper suggest that the only movement the jaw should make is a slight push foward.
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