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rowuk · 02-24-2008, 05:47 PM

Wow, this is so multi faceted!

The universal player is of course fed by the universal method of instruction. "Tight corners", long tones, lip slurs were always there, but I think there is a much greater emphasis on CHOPS than there ever was before. Arban and St. Jacome do not have a chapter on "embouchure" for instance. Clarke also wrote great chop builders but provided no visualization.
The generation around Stamp, Irons and Caruso actually lay out a blueprint for success. Depending on the method, the proportion of lip to tongue to air can also be standardized.

The manufacture of instruments of course plays a big role. The basic "sound" is perhaps not critical, but the dynamic behaviour of the instrument sure is. At what volume does the sound develop an edge? How well does the sound project at low volumes, how "dense" is the sound. They all influence how well we are heard and how stressful that is for the rest of the band. I have found that many string players confuse volume and density. They assume if they cannot hear themselves, then we are too loud. It is possible to "mask" their sound without even playing loudly!

I think that the audience would be VERY tolerant regardless of what horn, sound or embouchure method chosen. They pay to have it sound "good" and that is not owned by ANY specific concept!!!!!!!!

02-24-2008, 05:47 PM	#17 (permalink)
rowuk Moderator Fortissimo User Join Date: Jun 2006 Location: Germany Posts: 4,221	Re: Orchestral Sound Wow, this is so multi faceted! The universal player is of course fed by the universal method of instruction. "Tight corners", long tones, lip slurs were always there, but I think there is a much greater emphasis on CHOPS than there ever was before. Arban and St. Jacome do not have a chapter on "embouchure" for instance. Clarke also wrote great chop builders but provided no visualization. The generation around Stamp, Irons and Caruso actually lay out a blueprint for success. Depending on the method, the proportion of lip to tongue to air can also be standardized. The manufacture of instruments of course plays a big role. The basic "sound" is perhaps not critical, but the dynamic behaviour of the instrument sure is. At what volume does the sound develop an edge? How well does the sound project at low volumes, how "dense" is the sound. They all influence how well we are heard and how stressful that is for the rest of the band. I have found that many string players confuse volume and density. They assume if they cannot hear themselves, then we are too loud. It is possible to "mask" their sound without even playing loudly! I think that the audience would be VERY tolerant regardless of what horn, sound or embouchure method chosen. They pay to have it sound "good" and that is not owned by ANY specific concept!!!!!!!! __________________ Whenever I feel blue, I start breathing again.