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The Reinhardt Routines—a total embouchure development plan


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PivotBone
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PostPosted: Sun Mar 30, 2008 12:53 pm    Post subject: Re: Reinhardt Reply with quote

Doug Elliott wrote:
iambrassman, you can't seriously study Reinhardt's methods while thinking that you can somehow combine it with approaches like Calllet, TCE, BE, or while practicing pedals,or being a "mouthpiece of the day" type of player as your signature says.

There may be some similarities here and there, but none of them are compatible with the rules of the Pivot System, such as playing only one embouchure type (and knowing what that means). None of the other "systems" consider the different types at all. Lots of things work temporarily. Reinhardt taught what will work for the rest of your life, and for the full range of the horn.

A good start would be to pick just one mouthpiece, and stop playing pedals. Then you can learn about IIIA if that is indeed your type, and learn to play that way from low F# to DHC.

No amount of describing what you do and getting random advice here will replace actual lessons with someone who truly understands the Pivot System.



Doug, I think this is great advice for anyone who comes to this forum and doesn't understand what we are talking about. Reinhardt's teachings are SO unlike what anyone else teaches that the advice you get here won't always be interchangeable with what others are doing. There is a lot more to his teachings than simply adding an exercise to the routine you're already doing. I believe that anyone looking to get the real benifits of Reinhardt's teachings needs to see someone well-versed in Reinhardt's teachings.

rich
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healey.cj
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PostPosted: Mon Mar 31, 2008 5:23 am    Post subject: Reply with quote

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iambrassman
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PostPosted: Mon Mar 31, 2008 8:05 am    Post subject: Reply with quote

Thanks for all the replies to my massive missive. I've been a natural style player all my life, and only adopted as much of the other systems as made sense to me at the time (Callet being the most, but I abandoned it when he moved to TCE from Trumpet Yoga).

I'm trying to understand more about how the Rienhardt approach works so I can make an educated and informed decision whether I will pursue it. I do understand that it is an approach that does not mix, and will not try to do so. I was reading the descriptions of the types and the approaches to each so I could gain an understanding and a confidence level in the Reinhardt system. From re-reading, I am a "I" based on my resting teeth alignment, but I've never encountered most of the challenges described, so will have to keep trying to digest.

I play the way it feels right to play. I pick a mpc at random on those days I choose practice. It is, in fact, as large as a 3C or 5B to as small as some of Callet's smallest offerings. I can play dbl pedal C to A over high C after 6 months of not playing, and do so with robust tone. Provided I haven't skipped more than a couple of weeks of practice I can play about 1 hour of lead (more if I've been practicing). This ability has always made me skeptical toward 'disciplined systems', but that skepticizm has limited my development, something maturity says I no longer want to do. I'm trying to understand what the Reinhardt discipline will do for me.

Are there current or iconic players who got to where they are using the Reinhardt approach? There were a few examples of embouchure style cited in the article, but some of those are ones (Arturo Sandoval for example) that I know don't formally use the Reinhardt approach. Could you continue to enlighten me?
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PivotBone
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PostPosted: Mon Mar 31, 2008 8:29 am    Post subject: Reply with quote

Quote:
From re-reading, I am a "I" based on my resting teeth alignment, but I've never encountered most of the challenges described, so will have to keep trying to digest.


Although this may be confusing, it may be best to think in terms of being a IIIA and not a I, as they, functionally speaking, are virtually identical. What is perhaps most important when considering your type is if pushing up to ascend or pulling down to ascend works best for you. Experiment ascending and descending from middle C to intervals a 4th or more away and use each pivot. One should be more obvisously correct for you. This is, of course, a very simplistic summary of a type, but can get you started. Above all, if you are serious about studying "Reinhardt," find a teacher even if only for a couple lessons. Consider yourself lucky that you have "never encountered most of the challenges described."

Quote:
I'm trying to understand what the Reinhardt discipline will do for me.


There is, of course, no guarantee that it will do anything for you. However, most players experience more embouchure trouble as they age because of the slowing down of the reflexes and healing powers that many young players use to compensate for less-than-perfect playing mechanics. Reinhardt would say that he was more interested in seeing where a player would be 10 or more years down the line than where they were right now. Reinhardt's approach is largely based upon using his observations, techniques, and exercises to ensure consistant playing mechanics for each player over the life-span of that player's career. Teeth with shift in the mouth, reflexes will slow down, etc., but his teachings are designed to address those problems in a consistant and methodical manner.

Quote:
Are there current or iconic players who got to where they are using the Reinhardt approach?


There are players, past and present, that use/have used his teachings to great success. Current players include some of those that frequent this message board like Chris Labarbera (Mr. Hollywood), Rich Willey (Beboppinfool), and Doug Elliott (Doug Elliott). Recordings of each of these players are available and, bluntly put, they all play their asses off.

To add to this list, in Reinhardt's time we had (very short list here) Lin Biviano (who started Lin on trumpet and taught him over the course of many years off and on), Lynn Nicholson, Bud Brisbois, Kai Winding, and MANY others. Check this out for a more complete list: http://reinhardtfoundation.org/

Let me know if you have any more questions.

Rich
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healey.cj
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PostPosted: Mon Mar 31, 2008 5:34 pm    Post subject: Reply with quote

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iambrassman
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PostPosted: Tue Apr 01, 2008 6:05 pm    Post subject: Thank you Reply with quote

I greatly appreciate all the time and energy spent answering my uninformed sets of questions. You are all to be commended on your heart for teaching, and for your interest in advancing our mutual art. You have given me a great deal to digest, not to mention the PM advice I received as well.

There are, obviously, elements of commonality between the way I played naturally for almost 10 years, then how I play under Callet's older system, and what Reinhardt emphasizes. There are also, as healey.cj so aptly put, such a great body of differences that I would need a guide in person to help me navigate from old pedagogy to new (or in terms of dates founded, from new to old, but I digress). That is what I will explore next.

Thank you again -- and I will spend some more time reading prior to posting any more semi-informed questions.
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razeontherock
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PostPosted: Wed Jun 18, 2008 6:37 pm    Post subject: Reply with quote

OK - how about back to the Reinhardt routines, a total embouchure development plan!?!

First of all, nobodygets stuff to you as quick as our bebopin fool. It says it comes USPS, but I think they're lying.

Reading through the book, most of it makes me feel like I'm a Bill Adam student all over again, with a few noted exceptions, all of which favor common sense.

I have a couple questions, if anyone's brave enough to read through it:

The pivot stabilizer sure seems a strange way to start. Then on to Day 1, just about when I was as bored as Adam's routine, along come Ex. 11 & 12. So I finally found a way to do extended high register w/o resorting to pedals! But the decrescendo down to ppp (nothing) invariably resulted in me missing pitch, to the high side. Sometimes by a partial or two, ending on a definite pitch. Questions:

1. The times I didn't wind up on a definite pitch, but way higher with a drastic reduction in volume, if I had to define it I'd call it a "squeaker." (No I've never heard a Reinhardt student play one so yes I'm just guessing, and these are still new to me) Does this count as "compression work?"

2. Is this supposed to be compression work?

3. Aside from the fact that I was pushed past the point my embouchure can control so there's obviously room for development, does this reveal anything about my playing?

Thanks for any insight, and either way I plan on playing out of this for a while ...
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PostPosted: Thu Jun 19, 2008 12:31 pm    Post subject: Reply with quote

razeontherock wrote:
I have a couple questions, if anyone's brave enough to read through it:

The pivot stabilizer sure seems a strange way to start. Then on to Day 1, just about when I was as bored as Adam's routine, along come Ex. 11 & 12. So I finally found a way to do extended high register w/o resorting to pedals! But the decrescendo down to ppp (nothing) invariably resulted in me missing pitch, to the high side. Sometimes by a partial or two, ending on a definite pitch. Questions:

1. The times I didn't wind up on a definite pitch, but way higher with a drastic reduction in volume, if I had to define it I'd call it a "squeaker." (No I've never heard a Reinhardt student play one so yes I'm just guessing, and these are still new to me) Does this count as "compression work?"

2. Is this supposed to be compression work?

3. Aside from the fact that I was pushed past the point my embouchure can control so there's obviously room for development, does this reveal anything about my playing?


As it says in the upper right corner of page 1, "Note: this drill is very strenuous. Many students skip the Stabilizer at first, adding it weeks or months later as embouchure development permits." Between Dave Sheetz and Doug Elliott, we agreed that some people do okay starting with it using little more guidance than what is printed in the book. Others who may have more serious chop issues might do well to skip it at first, adding it later. Hint: keep the "weight" on the lower lip, particularly when doing descending slurs.

My answer to Question 1 (above): I wouldn't count it as compression work, but it does demonstrate that your chops are capable of vibrating at those higher frequencies. When that happens, have the good judgment to chill out and don't use it as an opportunity to see how high and how high you can play. Rest while it feels good.

My answer to Question 2: The Compression Drill in the book (pg.35) is excellent. If you have an Encyclopedia, try the Flip routine, also.

My answer to Question 3: It just tells me that your chops have plenty of room for development, and you can probably develop more high range than you realize right now.

Bottom line is just don't overdo it. Stop too soon rather than too late and get some rest.

Gotta go!
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razeontherock
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PostPosted: Thu Jun 19, 2008 4:32 pm    Post subject: Reply with quote

Thanks for the answers! Even moreso, thanks for making this stuff available. I had chops with potential to develop further in '77, but all this time nobody could show me how. There's no magic wand in this book, but I can already see it will help.
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PostPosted: Sun Jun 22, 2008 8:03 pm    Post subject: Reply with quote

This is an excellent thread and I’m not here to screw it up in any way. I’ll make a couple quick corrections on points made about TCE then get out of the way. If anyone wants to comment or inquire further on TCE/MSC please do it in the Callet forum so this thread does not get hijacked. Rich, I won’t be upset if you decide my post is inappropriate and pull it.

<<I have seen quite a few cases of "tongue supporting the bottom lip." I think that's what TCE is all about. The lower lip muscles never develop because you're using the tongue instead.>>

The tongue doesn’t support the lower lip in TCE. As the instructions say, “rest the tip lightly on the lower lip or slightly behind the cutting edge of the lower teeth”. Though it’s not used to squeeze against the upper lip, the lower lip builds considerable lower lip strength as it pulls in against the TCE-shaped tongue. TCE players develop a noticeable muscle bulge in their lower lip. This bulge of muscle supports the mouthpiece out away from the “inner track”. That’s why “types” and track movement aren’t employed in TCE.

<< What it seems to me with TCE…the tongue replaces one of the lips.>>

Some TCE players do “feel” it nearly this way. But in TCE , the upper and lower lips continue to vibrate in the normal manner. However, the tongue is used to compress the air inside the mouth before it hits the lips. This takes away the lower lip’s need to squeeze against the upper lip.

<< [TCE] using the words spit and grunt.>>

The spit buzz is absolutely central to TCE, but there is no grunt. There is, however, a feel of a slight cough in the ku attacks of multiple tonguing. Also, TCE, when done correctly, always develops from the bottom up. High range is a nice side effect, particularly for those who have previously struggled with range. But, it’s not the goal of TCE.

<< The problem with TCE is I don't think you can really compare it so quickly and easily with a regular/common embouchure which is based on Farkas' embouchure style.>>

This is my finding too. TCE employs a whole different kind of physics.

<< you can't seriously study Reinhardt's methods while thinking that you can somehow combine it with approaches like Callet>>

I fully agree. The transition, for me, was long and difficult. I think the earlier someone adapts one of these systems and works diligently at it the faster the results will come. Most instructions btw DSR and JC directly conflict so a transition is immensely more difficult than starting from scratch. I don’t think a hybrid of these 2 systems will ever work.

<< Reinhardt taught what will work for the rest of your life, and for the full range of the horn.>>

Surely, no system is any good if it won’t do this.

<< I pick a mpc at random on those days I choose practice.>>

Because Callet takes the inner track out of the equation, it’s quite easy to change mouthpieces. But for consistency’s sake, it’s still recommended that one get thoroughly adept on 1 mouthpiece.

<< [TCE] using the teeth as resistance>>

For accuracy’s sake, this should read “upper” teeth. The lower teeth are not part of the resistance in TCE.

Best to all, Kyle
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razeontherock
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PostPosted: Tue Jul 08, 2008 5:56 pm    Post subject: Reply with quote

This touches on subjects discussed across many different threads here, and I for one think airing it out is good. If this is the wrong place, my apologies.

I see the overwhelming majority of Reinhardt's teachings as universally applicable to any brass player, and applied with some intelligence these would either help everyone, or if not it'd only be because that individual has already been doing (at least some of) those specific things. Reinhardt has spelled out exactly how to practice intelligently, to a degree I've never seen before! And I'm the sort of guy to take note of these types of things.

I also realize my perspective is that of one who has never met Doc, or any competent Reinhardt instructor. Also my exposure is slanted towards those things that do apply across the board. It's still significant that applying what I've encountered here has improved my playing, and not taken me away from my original, natural Callet - type physical set-up. So when I encounter statements that these 2 contradict, I can't take that to heart. Yet. Just like Bill Adam was highly controversial at one time, but has inarguably proven that his teaching has immensely helped a long list of top players. And some of his concepts still help me, with no conflict whatsoever against any other beneficial influence.

My list of what I know conflicts btw Callet and Reinhardt is pretty short:
(we don't need to expound on pedals)

1) tongue behind teeth vs. in front.

the real significant thing here is, what would Doc had said if I walked into his studio in 1978, playing essentially just like I do now? Would he have labeled me a "complete tongue type V," and merely tweaked things a little and for the better? How would that end result differ from what I do now with regards to tongue function? Or would he have drastically changed everything, which is what I did? I experienced drastic results, so that 2 years later I was still playing worse, and 6 years later I was playing as well but beating my brains out to do it. I'm sure everybody hopes I would've gotten better results under Doc's tutelege.

The real tongue movement w/ Callet occurs behind the teeth. It also minimizes movement, and makes a big point of that. Does this really conflict with Doc's ideas? Hhmmm ...

Even further, as a type IVA my main goal should be to become more like a IV. This is accomplished w/ Callet's use of the tongue, which also serves to "keep the weight on the lower lip!" Still, this does not remove the natural and essential forward motion of the jaw to ascend as taught by Reinhardt. I see a big similarity here, in that neither teacher "invented" these things. They just discovered them, already in use by successful players. Even further, my becoming aware of this jaw movement via Reinhardt has turned many a bad day into a good day.

2. Articulation (or applied use of tongue function)

OK, here's a substantial difference. Both make no apologies about massive use of calisthenics, and Callet teaches staccatissimo, to develop the tongue strength to maintain the tongue position he teaches. Well, I've done that.

Now I find Reinhardt to be much more in the Adam camp, in that first you learn Cantabile to legato, and progress to marcato to ultimately arrive at a correctly executed staccato. And I believe I'm correct in the purpose of this is to minimize tongue movement, which is a stated Callet goal. While I find Callet's greatest teaching strength is immediate identification of playing problems everybody else misses, Reinhardt was a problem solver too. And after 4 years of diligent (albeit sporadic, with missed days, weeks and even the occaissional month) practice Callet's way, my main problem according to Jerome is still excess tongue motion.

Hhmm, just maybe, more practicing of hard popping attacks (Callet's way) won't ever fix my problem? Maybe I need to take Reinhardt's (and Bill Adam's) advice and learn to crawl before I try to run? And maybe this applies to more people than just me? (at a certain stage of development, regardless of playing system employed?)

3. Flat chin vs "bunched."

For all I know, my chin is flat according to Reinhardt, and may or may not bunch the way Callet teaches. What I do know is that since I've become more aware of a Reinhardt analysis of my own playing, extraneous movement has been greatly reduced and endurance has increased. I can't yet say you can't see my lips move at all like Alison Balsom, but there's a lot less going on visibly which is made possible by more going on internally. This is application of Reinhardt's ideas moving me towardwhat Callet wants me to do.

So why is this even on my short list of conflict btw these 2 teachers??


SIMILARITIES:

1. Jaw position. Both teach not to open and close the jaws to change register. This is pretty contrary to all other teachers I'm aware of! Callet teaches to play with the jaws as open as possible - what did Doc say on this point?

2. Positively do not overbreathe to play the upper register. Again, these 2 buck conventional teaching, but not each other. And this thought is gaining ground rapidly; probably because IT WORKS!

3. The basic motion of the abdominal muscles is taught similarly by both, which conflicts what many others say.

4. Both teach against overblowing.

5. Both teach against smiling to ascend.


The main point which is well taken, is that every individual player needs a physical playing system made up of elements that work together - rather than negating each other. Reinhardt afficionados are quick to state that Doc's strength was working with players of all types to achieve that objective. Or would you now rather partition off some types?
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razeontherock
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PostPosted: Sat Jul 12, 2008 9:27 am    Post subject: Reply with quote

Back to Rich's book:

this time through, Day 5 is still a bear for me. So on # 2 I'm resting like a fiend between every line, giving my chops time to decide to relax. Honestly, if I stopped before good-for-nothing-excess tension developed, I wouldn't even get through one line. Waiting til things feel good again takes so long I'm "un-warmed up" when I go to the next line. I'm dubious about proceeding this way.

#4 (there is no #3) does in fact relax my long standing habit of this obstructive tension. My obvious thought is to spider web these 2 together; but that goes against Doc's designed studies not only on this one, but in a LOT of things. I'm guessing there's a purpose to that design, and hoping there's a way to use this drill to remove this problem?
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PostPosted: Sat Jul 12, 2008 11:36 am    Post subject: Reply with quote

razeontherock wrote:
Back to Rich's book:

this time through, Day 5 is still a bear for me. So on # 2 I'm resting like a fiend between every line, giving my chops time to decide to relax. Honestly, if I stopped before good-for-nothing-excess tension developed, I wouldn't even get through one line. Waiting til things feel good again takes so long I'm "un-warmed up" when I go to the next line. I'm dubious about proceeding this way.

#4 (there is no #3) does in fact relax my long standing habit of this obstructive tension. My obvious thought is to spider web these 2 together; but that goes against Doc's designed studies not only on this one, but in a LOT of things. I'm guessing there's a purpose to that design, and hoping there's a way to use this drill to remove this problem?

You're right . . . that ought to be a 3, my mistake.

On #2 it just says "many times on one breath" . . . it doesn't say to keep taking breaths and doing them repeatedly; which are you doing? You could do each one, say, three or four times on one breath and move on to make sure you don't wear yourself out on any one particular line. That could help you get through more material in a given day rather than trying to "perfect" any one part of the routine.

After doing Reinhardt's routines for many years, I have found (for me, now) that it's not about trying to get them perfectly. It's about making a pass through them daily and moving on to other areas of practice. Over a period of years, the benefits of doing the same breadth of material consistently is the result I'm looking for, not trying to play all of those drills sounding like Herseth the whole time.

When Reinhardt wanted you to be concerned purely with sound, he let you know. A lot of his drills worked out muscular and other physical aspects of playing so that when you got on a gig and only focused on sound you had the strength to do just that.

As far as doing #4 (or 3) in a Spiderweb fashion, I have a feeling that he might've been okay with that if it helped you get through more materials that day.
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PostPosted: Sun Jul 13, 2008 8:30 pm    Post subject: Reply with quote

Thanks! Another way would be just to go to some cantabile, like playing a nice ballad to coax the chops into something other than an iron fist. Then come back to the next line. The "touch upon" concept will serve me well, as will this particular drill over the long haul. Clearly a weak spot.

Sadly, my chops do the iron fist thing on #2 w/ even just 1 repeat. My legs get stiff in my sleep, too; it's a real drag. If I can rid that from my face, my endurance will go through the roof.
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PostPosted: Fri Jul 25, 2008 5:42 pm    Post subject: Reply with quote

Hey Rich, a coupla questions on this book, based on stuff buried deep in this forum:

1) it's mentioned to "observe the dynamic markings very carefully on the pivot stabilizer." In print, you've written this book so that with NO dynamic markings, (like you have the pivot stabilizer written) we are to rotate through ALL dynamics. Right? I'm gravitating toward doing this as quietly as I can while keeping a pure tone. It's only been a few times through the 9 day cycle. Any pitfalls I'm setting myself up for?

2) Someone on here (Dave S? Can't remember) made mention of the quartet of daily calisthenics, the 4th being to hold your face in the original placement set-up; short time span to begin with, but building that up gradually. Is this beneficial?
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PostPosted: Fri Jul 25, 2008 6:23 pm    Post subject: Reply with quote

razeontherock wrote:
Hey Rich, a coupla questions on this book, based on stuff buried deep in this forum:

1) it's mentioned to "observe the dynamic markings very carefully on the pivot stabilizer." In print, you've written this book so that with NO dynamic markings, (like you have the pivot stabilizer written) we are to rotate through ALL dynamics. Right? I'm gravitating toward doing this as quietly as I can while keeping a pure tone. It's only been a few times through the 9 day cycle. Any pitfalls I'm setting myself up for?

2) Someone on here (Dave S? Can't remember) made mention of the quartet of daily calisthenics, the 4th being to hold your face in the original placement set-up; short time span to begin with, but building that up gradually. Is this beneficial?


Below is the exact text on the Pivot Stabilizer page, verbatim from my file:

The Pivot Stabilizer

Note: this drill is very strenuous. Many students skip the Stabilizer at first, adding it weeks or months later as embouchure development permits.

1. When executing descending slurs, always keep the “weight” on the lower lip. This prevents the unwanted “jaw drop” for the lower register and is the key to all-around correct brass playing.

2. Make certain that your entire embouchure formation has sufficient lubrication; that is, use a wet (not dry) embouchure. It is better to over-lubricate than to under-lubricate. From time to time, use a handkerchief (not your sleeve) to wipe the pore oil off your lips. This is especially important when playing outdoors or under hot stage lights. Saturate the front of your upper and lower teeth — the corners of your mouth — and the entire outer embouchure with saliva. Carry this out in the exact order as presented and do not deviate. Above all, do not neglect the saliva lubrication of the front of your upper and lower teeth; check on this throughout your playing.

3. Strive to find the core of the sound; then and only then make any necessary pitch adjustments.

4. Think of the vowel sounds ah for the lower register, ooh for the middle register and ee for the upper register while slurring. When returning from low to high, pronouncing a slight “w” helps eliminate the possibility of a “bump” (ooh – ah – wee).

5. Diligent mirror observation must prevail during your initial playing; however, on the repeat, keep the eyes closed to enhance the all-important “feel” factor.

6. Because the lip aperture (the space blown open) is approximately the same size for a pianissimo third space C as it is for a forte second leger line above the staff high C, it is obvious that it is both mechanically and musically correct to crescendo while ascending and decrescendo while descending. Remember, the longer the ascending slurred interval, the “thinner” the lower note must be. This principle is vital in order to teach your embouchure “aperture control.”

7. Strive to minimize and eventually eliminate all unnecessary movement.

8. After each repeat, rest for a few moments at the [fermata over the whole rest]. Rest as much as you play!

========================================

The answer to your 1st question is in point #6 above (by the way, nowhere in those instructions does it say "observe the dynamic markings very carefully on the pivot stabilizer." Where do you see that?

The answer to your 2nd question is the "Mouth Corner Drill" where you form your lips as if to buzz but don't buzz. Hold that until you feel the first signs of over-exertion . . . stop before straining.
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PostPosted: Sun Jul 27, 2008 8:53 pm    Post subject: Reply with quote

Thanks for the quick response Rich!

My second question is answered completely; good to know.

Following the instructions for the pivot stabilizer still leaves me the options on the low note, (supposing that "thinner" = at least softer)

of playing anywhere from a good solid forte down to pp, and everywhere in between. Since the dynamics aren't marked should I rotate through that full dynamic range? Are there objectives to keep in mind?

I realize the top note needs to be louder, that's spelled out. It's just the dynamic at the bottom I'm asking about.

BeboppinFool wrote:

(by the way, nowhere in those instructions does it say "observe the dynamic markings very carefully on the pivot stabilizer." Where do you see that?)


The answer is in my above post:

quote="razeontherock"]Hey Rich, coupla questions, based on stuff buried deep in this forum: [/quote]

Re-reading everything in this forum is turning up a nugget here and there that's more meaningful now, as I'm applying what I can.

Ray
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Doug Elliott
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Joined: 10 Oct 2006
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PostPosted: Mon Jul 28, 2008 4:40 am    Post subject: Reply with quote

Play the bottom notes soft, and don't overdo the crescendo on the top notes. The stabilizer is not a "sound" exercise. It only needs to be loud enough to establish the core of sound.
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Paul T.
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Joined: 12 Dec 2009
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PostPosted: Wed May 13, 2015 7:16 am    Post subject: Reply with quote

I just wanted to say that I'm working my way through the Routines, and really enjoying them.

The only thing which might help improve is some more specific instructions on the "vary it up" comments from Reinhardt (notes like "alternate the following dynamics:" or "Common Ternary Forms to be applied to the Form Studies" - knowing Reinhardt, he probably had some clever and systematic way to apply these variations, and they would be a great addition to the book).

This thread is also an excellent read (again), excellent to review!
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revmklyons
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Joined: 12 Aug 2011
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PostPosted: Fri May 15, 2015 11:01 am    Post subject: Reply with quote

I did the stabilizer every day without fail for probably 6 months until it "took hold" so to speak. I don't do it every day any more, but I do some variation of it. Sometimes I play really fast chromatics over one octave and then two octaves and exaggerate my correct pivot to remind myself and so as to not slip into bad habits. When doing my harmonics slurs I don't exaggerate it but I really concentrate on it so I don't start doing it backwards.

Second point...I was discussing with a very talented young student of mine the exact thing that pivotbone was saying....we were determining whether type 1 or type 2 pivot worked the best for her...and it looks like it is the opposite of mine. She pulls down to ascend, pushes up to ascend, when it works best. We didn't discuss any types, and I would be timid about trying to label it myself.

I will order the book ASAP, you know I am a believer!
Keith
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