View previous topic :: View next topic |
Author |
Message |
LeeC Heavyweight Member
Joined: 25 Feb 2003 Posts: 5730
|
Posted: Thu Oct 11, 2007 8:17 am Post subject: |
|
|
pepperdean wrote: | Lee,
In the cases I saw, and for myself, the Caruso system did not only improve the playing ability on the existing embouchure. It gradually shifted the setting to a better embouchure (balance).
Alan |
That doesn't surprise me. In fact the appeal of the Caruso to me seems to be that it more closely duplicates the positive conditions of a live performance without the negative.
Something about placing the demand on the mind/body to play a note in time as opposed to just whenever one wants. When I was starting to shift my secondary embouchure into the rehearsal bands (instead of just the practice room) my chops took on a whole different set of experiences.
Each time one places the mouthpiece on the lips it never quite exactly matches the place it hit before. Something is just a little different. So a series of extremely minor changes happen. Both to allow for accidental placement adjustments while still producing acceptable results and for the benefit of trial and error learning.
What works better and what doesn't.
I'd bet that even Maynard was still subconsciously learning things up to the end. A way to adjust for an older set of chops, mouth changes from orthodontist work etc. Not significant matters like a less developed player goes through but changes none the less.
In fact everyone has "several embouchures" whether they know it or not.
The barely warmed up one.
Getting tired.
Getting really tired.
Playing the day after being really really tired or swollen.
Playing while well rested and feeling good.
Maybe I should add: Playing near the end of a long whole tour on badly worn chops.
Each is a different chop use. Similar and within an acceptable perimeter within an experienced player but still different. |
|
Back to top |
|
|
pepperdean Heavyweight Member
Joined: 10 Mar 2004 Posts: 650 Location: Johnson City, Texas
|
Posted: Thu Oct 11, 2007 9:16 am Post subject: |
|
|
You're right. The beauty of the basic system is that it duplicates many of the demands of playing. Carmine spoke about the science of cybernetics, programming computers. He said his methods were meant to repeat performance demands in a controlled environment (long setting) in order to train the autonomic nervous system to unconsciouly produce the appropriate response - reflex. I speculate this is why it is best to just play the exercises without thinking. Repeat, repeat, etc. This is also how we would develop based on demands from a gig - just play.
I think the challenge for Caruso followers now comes beyond the basics. Carmine did use a lot of creativity while deciding which exercises to prescribe and how they should be played. Sometimes, he would also make specific suggestions like, 'raise your bell a little higher.'
To help with my understanding, after studying with Carmine and getting my playing at a very high level, I did take some lessons from Doc Reinhardt, Roy Stevens, Jerry Callet, and Bob McCoy. I was very fortunate to be able to do this and I hope it enhances my teachng. I believe it does.
Alan |
|
Back to top |
|
|
JoeCool Heavyweight Member
Joined: 13 Nov 2001 Posts: 2238 Location: Wimberley, TX
|
Posted: Thu Oct 11, 2007 11:32 am Post subject: |
|
|
gennaro wrote: |
your conscious mind can manage not more than 12 muscle in the same time (for well trained people.... less for normal people). Your unconscious mind can manage more than 200.... The feedback of conscious mind is filtered by your "idea of truth".... the feedback of unconscious mind is almost unfiltered... and so on...
At the end.... think to sound, visualization or be sticky with timing.... are only door for unconscious mind.... and are all characteristics of respective successful pedagogy.
Regards
Gennaro |
Stellar post. _________________ Joe |
|
Back to top |
|
|
rosin Veteran Member
Joined: 26 Jun 2006 Posts: 152
|
Posted: Tue Jan 22, 2008 4:34 pm Post subject: |
|
|
i attack the first notes of six note study by syllabe "ffffffffffffff" the note locks immediatly and i feel very centered sound,i would say it sounds good and my lips go alone where they shoud go with fffffffffffffffff. |
|
Back to top |
|
|
|