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Emb_Enh
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Joined: 29 Oct 2002
Posts: 455

PostPosted: Thu Jan 03, 2002 7:26 am    Post subject: Reply with quote

I like the Caruso book, (mind you there are'nt any books that I really don't like.)

But it's a pity Carmine did'nt include more explanation of his thinking at the beginning.

Any ideas on this one Charly?...or anyone else for that matter?

regards.
_________________
Regards, Roddy o-iii RoddyTpt@aol.com

"E M B O U C H U R E___E N H A N C E M E N T"
BOOK 1 also... BOOK 2 + demo CD


[Self Analysis and Diagnostic Trumpet Method]
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_bugleboy
Carmine Caruso Forum Moderator


Joined: 11 Nov 2001
Posts: 2865

PostPosted: Thu Jan 03, 2002 10:48 am    Post subject: Reply with quote

Roddy,

It is important to keep in mind that "Musical Calisthenics For Brass" (MCFB) is a teaching book: a book that Carmine intended to be used by students to improve their playing. It is not a book about embouchure analysis. It is unfortunate that his notes on embouchure and the physiology of wind instruments have never been organized and published. He told me that he had enough for a full scale text book which I think The Manhattan School of Music is presently in possession of. But, MCFB, is still a reasonable source of his position.

Caruso was a firm believer in the "Paralysis through analysis" syndrome and therefore refrained from embouchure specifics that other methods and teachers dwell upon. His own words on this subject are,

"If a teacher says something is wrong, the student has the right to ask, 'What's wrong with it?' Then the teacher will explain and the student asks, 'Now what do I do about it?' It is easy to dispense with all those steps if the teacher merely tells the student WHAT to do."

Carmine believed that explaining what is wrong and why it is wrong is detrimental to learning. He offered a way for students to improve their playing. He understood the physiology involved but didn't discuss it in great detail because he didn't want students to be thinking about any aspect of sound production. He was a firm believer in the "put the horn on your face and blow" school and used the word "don't" only once when I studied with him. He said, "Don't Think!!" Actually, he would say that if you want to think about something while doing his calisthenic exercises then think about timing, i.e., I was to concentrate on my foot tapping. From his insights into the muscular activity that is necessary for the lips to vibrate came his calisthenic exercises. His teaching approach revolved around muscular training and conditioning, much like the training athletes engage in to train their muscles to perform the tasks required in their particular sport.

Actually, I think there is a lot of analysis in the Caruso book but the words are carefully chosen and need to be given a fair amount of thought. Many trumpet books that I have read go on and on about nothing, just to fill up pages of text, I suppose, so that the book will appear scholarly. Not so with Caruso.

There is much more in the book than meets the eye at first reading.

CR

[ This Message was edited by: bugleboy on 2002-01-03 13:50 ]
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