The Reinhardt Routines—a total embouchure development plan

[BeboppinFool]

Bill, one of the points in making this book the way it is was so that students could benefit from Reinhardt's routines with a minimum of face to face contact with a Reinhardt-oriented teacher.

There are instructions throughout the book on how to execute the various drills, and if students follow those instructions, the principles behind the routines will begin to take hold after a time. Not overnight, of course, but after continued, persistent practice.

Now, if a student does have access to a Reinhardt-oriented teacher, it's possible that the teacher can help the student detect and iron out any weaknesses that may be holding him back. But Dave Sheetz and I both believe that the consistent study and practice of this regimen will yield better results than working out of most other, less-organized books.

A fellow Reinhardt student commented to me recently that he'd had some gigs and scheduling considerations that prevented him from staying on the plan contained in the book, and that he got better results from going back to the beginning than by trying to start where he left off. It really is a very balanced approach to addressing all areas of development.
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Puttin’ On The Ritz

[PhxHorn]

Just as a follow-up, I haven't been able to get down to Tucson to see Kenny Smukel yet. The only time I get down there is for a gig, and the only bandleader I work with down there pays less than scale, and so I'm having trouble justifying the trip. I should probably just go down there for the lesson and keep it "pure"

Anyway, meanwhile I ran into Mike Crotty on a casual last weekend, he heard me warming up on #57 and typed me as a IIIB. He said it was pretty obvious that I pull down when ascending. We're going to try to get together sometime in the near future, but I'm curious what this means. Are there any particular traits or pitfalls I need to watch out for?

I've read some of the older threads, which say not to fall in love with your sound in the low register. I take this as advice not to overblow and get spread out. I think I'm making progress in that department, and also trying to maintain steady pressure when playing low, similar to playing higher. Anything else? Should I experiment with how much I pivot when changing registers, etc?

[bgibson]

Could you send a video?
Movement "usually" should be kept to a minimum and one should try not to overpivot.
WEG

[PhxHorn]

Sorry, but I don't have a video camera or the know-how to post videos.

[Doug Elliott]

Mike Crotty knows what he's talking about. He's a IIIB and he studied with Doc for at least several years.

[PhxHorn]

Well, I got together for 2.5 hours today with Mike Crotty, and learned that I was a textbook IIIB. Apparently I tend to pull down and to the left when escending, and up and to the right when descending. He couldn't see a clear transition point for me. I'm not 100% sure what that means, but I guess that's good. For over 20 years, I used to have major issues getting down into the low register, and back up again. I had to drop my jaw and slide my lower lip out of the mouthpiece, and it was a disaster trying to make a major register change. But I've been playing warmup 57 for a couple years now, and out of the new book for a couple months, and haven't had any such problems since the fall of '05, when I first downloaded warmup 57. Maybe the stuff is working.

Anyway, I mentioned that high register endurance was an issue for me (such as a long rehearsal followed by a show), and he pointed out that I tend to draw my corners back (away from center) when ascending above high C, and talked about chasing the horn. I'd heard that phrase, but didn't really know what it meant. I'd never really thought about that aspect of playing, but when I made a point of drawing the corners forward, towards the center, when ascending, it seemed to help right away.

He also gave me the Arban endurance exercise, keeping the horn on the face until things fall apart. He gave me some other stuff, too. So there's your update.

[PivotBone]

[jwilson46]

[PhxHorn]

I'll let the experts describe it, but it's safe to say you don't want to mess with it until you've been briefed.

[jwilson46]

[PivotBone]

The endurace routine is also Day 6 in the 7 day routine for professional performers. It is a routine designed to get the player into his/her second wind. This routine has a very specific purpose (bringing on the second wind to improve endurance) and is really unlike any of Reinhardt's other routines. It is probably not a routine to be given out on the forum. If you need any further info on it, or a copy of the 7 day routine, send me a PM.

Rich

[bgibson]

There is an Endurance Routine A and B, the one using the Arban book is Enduance Routine A.
Great routine, it is defintly Industrial strength.
WEG

[healey.cj]

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[airdyn]

[healey.cj]

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[BeboppinFool]

We do pretty much the same thing that Dave does.

If you pay via PayPal, we refund you the money via PayPal. If you pay using VISA, MasterCard or Diner's Club, we adjust the cost before processing your order so that no refund is necessary.
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Puttin’ On The Ritz

[healey.cj]

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[Nick Mondello]

Rich/Dave:

Two quick questions:

1. Pivot Stabilizer - Do you leave the mouthpiece on your chops and nose breathe again before repeating? (So a complete repeat is one set with two NBs??)

Or, do you remove the mp, reset, nose breathe then repeat?

2. Pivot Question - I believe that I'm a IIIB (downstream, horn pivots down/straight). As I downward pivot horn ascending, top chop (head?) seems to be pulling up (opening chops, losing secure top chop contact) ascending above staff. Thoughts?

Any help appreciated.

Thanks!
Nick

P.S. Dave if I shoot you a few photos would/could you confirm typing me?
Please let me know (including fee) at nickmondello@optonline.net

Thanks!!!!

[jwilson46]

[airdyn]

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