Tasteebros + Jeff Smiley?

[Garroid]

I've been working with Jeff Smiley's BE method with varying degrees of success; first the g3-c4 range clicked and nothing else, and Jeff (through this forum) helped me figure out a couple of things, and now the rest of the method is mostly going well and showing good progress.

I also have the 3 'tasteebooks', and the TB's teach having an embouchure locked down on the corners, loose in the middle, and controlling pitch with airspeed alone. (more or less, simplifying the method for argument's sake).

Now when I practice the BE method (especially doing low stuff, roll-out & the like), I find that I can gliss from low c to double c and back down using airspeed alone. The tone down low is poorer, mainly because that register is less developed as of yet, and the double register is VERY open and full. No extra pressure, it's not even like I'm playing a trumpet anymore.... it's a very cool, wierd feeling.

My question is just how much of this is common for BE types, and has anyone had success using the Tastee method?(no, i don't plan to scrap the BE for Tasteestuff) Is this yet again off the beaten path of the BE, or is this well within the window of 'figuring out how to make this method work for me'?
_________________
Gary A. Wilder

[Mitoedit]

Garroid,

Indeed the most fascinating aspects of the BE approach is the uncanny ability to gliss up easily after working a bit on the double pedals and roll-outs. The upper register suddenly appears, with ease! This ability does decay over time, indicating that I am losing something, but if I reset and relax, the upper register comes back.

Jeff, why is this? If I can understand why it works I will know what I lose, and hopefully, might be able to retain the upper register.

Regards, Mitoedit
_________________
And so, my pro friend said to me "it's not the equipment....."

[trumpetteacher1]

Garroid - My approach focuses on neither corner tension nor "soft center." Quite different than Tastee.

Mitoedit - As you know, the pedals are done very specifically, which in turn generate very specific results. Please look at page 61. You may be losing one -or more - of those elements over time when you play continuously in the upper register, hence the need to return to the pedals to get it back. I agree that figuring out which piece falls out of the puzzle will certainly give you an idea of what you need to do in order to keep it in place.

Stay alert to what's happening, and you will figure it out.

Jeff
http://www.trumpetteacher.net

[Garroid]

Jeff -

I understand the points about corner tension and soft center. I do not use any of the 'tastee advice' about such things, I was referring to the vastly more dominant role of air over chops. I also do not have the need to play pedals to get the upper register back, it never goes away. Allow me to explain better my original point.

I have been making a dedicated effort to truly follow your book to the letter, from the cd to the printed page, and our emails. Everything is clicking much better, with the roll-out as well as the roll in. Back to my point - for example your roll-in exersise #3 - I notice very acute controll developing in my aperture, but I can continue the lip slur on the 'up side' of the pattern waaaay past the G past double C, seemingly using only air speed and volume. The only thing different I can tell about the upper register when doing such a lip slur is a more forward tounge position.

So, the Tasteebros are advocates of using airspeed alone to change pitches, and that is the ONLY thing that reminds me of their technique when I practice your method.
Is it normal to experience such a drastic promotion in the role of airspeed and volume, or should I strive to make the lips inside the mouthpiece do more of the work?


_________________
SGT Gary A. Wilder, 1st Infantry Division Band

[ This Message was edited by: garroid on 2003-02-24 05:31 ]

[Steely_Dan]

Hello Everyone!!! I finally got reregistered and am now able to post on TH! First of all I wanted to thank Jeff Smiley for writing such an informative and easy to read book. It's greatly encouraging to read about the other players who are benefitting from the experience of such a personable and well rounded individual. Have a great weekend!

SD
_________________
If you're ever robbing a bank and your pants fall down, it's okay to laugh:)

[trumpetteacher1]

Dan - Welcome to the TH! If you have emailed me in the past few days, then I know who you are. Otherwise, I don't have a clue!

Garroid - Let me answer you this way. In my experience, there are stages of embouchure development which start with lip position. A high percentage of teachers out there don't see it that way, preferring to instead believe that air automatically corrects lip position (which you are told not to think about). And so, the concept of better air, or yogic breathing, or "the perfect breath" gets hammered into thousands of students, especially the ones who are struggling. The problem is that until the lip position is properly addressed, emphasis on breathing is a no win situation which simply drives most students nuts, with very little progress to show for all of their work. Certainly, there are exceptions, but it still remains a numbers game in favor of the few.

However, once the lips start doing the job that they were designed to do, the need for more air - almost overnight - becomes apparent, as it suddenly seems like a vacuum cleaner is sucking it out of you. Further, when the lips do their job, often all you need to do is blow harder to go higher, all without any thought about tightening corners or keeping your lip center "soft."

When you reach this level, I tend to stop giving advice about embouchure. Think how silly it would be for me to tell you, "I know that your double C requires very little effort, but you're still not using enough lip movement!"

I would rather say congratulations, and move on.

Congratulations!

Jeff
http://www.trumpetteacher.net

[Garroid]

Thanx for the vote of confidence, Jeff - that was what I had hoped to hear.

Good points about air and embouchure development; I think those points are often missed completely, and it was refreshing to read.

Thanx for eveything,

-Gary Wilder

_________________
SGT Gary A. Wilder, 1st Infantry Division Band

[ This Message was edited by: Garroid on 2003-02-24 01:20 ]