BREAKTHROUGH!!! (I have finally broken the embouchure code. I think.)

Discussion in 'Trumpet Pedagogy' started by Sabutin, Aug 7, 2009.

  1. nordlandstrompet

    nordlandstrompet Forte User

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    OK....
    Consider yourself as forced to...:cool:

    [​IMG]
     
    Last edited: Aug 8, 2009
  2. Sabutin

    Sabutin Pianissimo User

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    Like I said...

    Any day now.

    Aaaany day now...

    Patience is in the eye of the beholder.

    (Or something like that.)

    Later...

    S.
     
  3. Vulgano Brother

    Vulgano Brother Moderator Staff Member

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    Arthur H. Benade. 1976. Fundamentals of Musical Acoustics, New York, Oxford University Press, 1976.

    A fun quote about brass instruments from page 423:

    "There is a further clue that the player's ears are provided with as he seeks the best playing pitch. The vibrations of the player's lips are subject to small, random flucturations, just as the vocal cords are. Lining up the air-column resonances will produce an added smoothness in the tone for the reasons discussed in section 19.5 in conncection with the soprano's subtle kind of formant tuning, Also (and much more significantly), the tone is made smoother because the amount of random flucturation in the lip-valve action is greatly reduced when a solidly organized regime of oscillation is set up."

    In reading 19.5, Benade writes about the acoustical effects of formant tuning, but not as to the "how" other than:

    "Enquiry among singers shows that this mode of singing is not in general consciously cultivated."

    Fun stuff!

    (By the way, Nick, you can refer to me as VB, rather than VGB.)
     
  4. Sabutin

    Sabutin Pianissimo User

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    That sounds like exactly what I am experiencing on a note-to-note basis.

    Thanks.

    You can say that again!!! Subtle, old man Benade, wasn't he? ROFLROFLROFL

    You might want to extend that to most brass players as well.:evil::evil::evil:

    Later...

    S.
     
  5. Vulgano Brother

    Vulgano Brother Moderator Staff Member

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    So, let's cultivate it then. I can ("imagine" as in image) a tone an octave above what I play. I then double my "everything" and 'bam' it comes out ,Playing the opening of "Pictures" I can imagine it an octave down and it works.

    Comments to the Vulgano Voodoo?
     
  6. Pseudonym

    Pseudonym Pianissimo User

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    V are you trying to say that all you're doing is imaging the note you want to play, centering in on that thought, overcompensating for what you think the note might require, and then finding out that you can play the note so long as you're consciously willing it out?

    I'm lost as to what the actual "crack" is, to be quite honest. If it's just extra thought to internal voicing, then that's been "cracked" a long time ago..

    I guess I'm asking you for your thesis, a very condensed one.
     
  7. thebugleboy

    thebugleboy Pianissimo User

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    When I can seriously claim 5 octaves well under control, I am doing super.
     
  8. Sabutin

    Sabutin Pianissimo User

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    This thing just keeps on working.

    At the end of two separate strenuous 3 hour rehearsals with different bands yesterday I had altissimo solo register available on my small bore tenor...strong altissimo solo register, as in blowing acoustically over a 20 piece latin band at full roar and not feeling much (If any!!!) fatigue for a long solo...staying up in the 8th to 16th partial range most of the time. This after playing lead over a strong four trombone section during the entire rehearsal.

    I was happily amazed. I have wanted to be able to do that sort of thing for 30+ years.

    This idea is developing rapidly in a very good way. I will be teaching it as part of my clinic/private lesson approach; the results have been nothing short of astounding for the few players to whom I have communicated it so far, and it is working for me beyond my wildest dreams.

    Get it now, hot off the fire.

    Seriously...those of you who know me know I don't mess around about this stuff.

    Come 'n' get it.

    You be bettah off.

    Bet on it.

    I have the start of one of my drive-by clinic/work tours set up...November 5th in Cabrillo College, just south of San Jose, CA. I am also putting together some things around the same time in Texas...Houston, Austin, maybe the Dallas/North Texas State area as well. As long as I am out on a teaching tour, anywhere else in the U.S. or Canada could be arranged as well. It's all about booking travel, as of now. Get in touch.

    Anybody who is interested or has any ideas get in touch with me either here or at [email protected]. Gigs in clubs, teaching, music directing/coaching/performing at schools, clinics put together by individuals...often the best experiences, by the way, all you need to make it work is 10 or 15 interested brass players and a room big enough to accommodate them...whatever sounds good.

    I have a month or two to hustle around looking for stuff, then I should book my flights before the prices go up. In the San Francisco area I can stay at my brother's house and use one of his cars plus I have a similar situation in Houston, so lodging and travel expenses in those areas go down accordingly.

    Think about it.

    Later...

    Sam
     
  9. Sabutin

    Sabutin Pianissimo User

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    Just as a little sideline to all of this...after 7 pages, a couple of thousand views, 20 really interested posters and basically two hostile, stick-in-the-mud opponents, the fools who run TubeNet canned this topic there. Without even the courtesy of a notice.

    That site makes the stiff old Online Trombone Journal look like a den of anarchists.

    So it goes.

    Gotta have dinosaurs as well as the new, I suppose.

    Later...

    S.
     
  10. Vulgano Brother

    Vulgano Brother Moderator Staff Member

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    I’m not sure what the “crack” is either, but can expound a bit on some of what I believe.

    I believe one of the best books about trumpet playing is The Inner Game of Tennis by W. Timothy Gallwey. In it he speaks of a “Self 1” and a “Self 2.” Roughly put Self 1 commands, criticizes and looks for acclaim—all that ego stuff, and Self 2 simply does things.

    If our Self 1 is busy telling us to “support your air, watch that tongue arch and don’t press too much” all kinds of tension enters our playing and screws us up—we make mistakes, miss high notes. Self 1 has its finger firmly on the “Suck Button.” If we can distract Self 1 by, say, focusing on an overtone (real or imagined) Self 2 can go about the business of playing, and happily does so.

    It may indeed be possible to play a low C and imagine a c two octaves up and allow Self 2 to “filter out” lower tones—this bypasses that ugly thing called “learning” and puts us in the exciting realm of “discovering,” trusting our body to “do the right thing.”

    The biggest difficulty would be in recognizing the “right result” when it happens.

    Hope this helps.
     

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