Trumpet Discussion Discuss Ghitalla's teachings in the General forums; Talking about FAT sound, I definitely don't remeber Ghitalla talking about that either... I always thought that the point of ...
Talking about FAT sound, I definitely don't remeber Ghitalla talking about that either... I always thought that the point of his singing was to teach the student to always think of resonance. He would do this thing where he would sing and make the whole room vibrate. So amazing!!! .............
this was his way of demonstrating what your sound should do.
This is kinda of hard to explain in a forum... sorry
I also think that his "eee" tongue thing was confusing. Maybe I would have got it if I sutdied with him longer. Only later did I understand what he was talking about. For me, (and everyone is different) I had to make sure other important things were in place BEFORE I did this "eee" thing. For me, It helped to listen carefully to the sound I wanted and notice what the tongue does to get that.... Rather than.. force the tongue to be somewhere I think it should. Hope that makes sense.....T
Tom and Zeb have captured a lot of what Ghitalla's teachings were about. I too studied with him at Rice from 94 (when we both had just moved to Houston) until 96 for my MM, and will only add a few things. One important thing I took away from him was the mindset about the patient daily work needed to have a successful career over the long term. I've been playing professionally for almost 10 years here in Mexico and every day when I start practicing I remember him screaming at me to always be working on fundamentals, every day of one's career. Many players came to him in their 40s or 50s with chop problems, etc, and his advice to avoid these issues later in one's career was to start working now on the basics - good breathing, scales, flexibility, etc.
He was also a warm and gentle man who was kind to everyone he met, a true role model in every aspect of the term. Well, except when he was driving a car (God D******!)
He is greatly missed by all who knew him.
I was looking back at the article I read regarding the fat sound and wanted to let you all see it. It is on page 4 Question 5 of this survey and tribute to Mr. Ghitalla.
here is the link: http://www.trumpetguild.org/pdf/2004...06Ghitalla.pdf
It talked about having a fat sound instead of a laser tone.
Have you all seen this? I loved reading it and I'm the kind of person that loves looking at and seeing pictures.
Last edited by trumpettrax; 10-30-2006 at 10:34 PM.
I can't believe this discussion has just ended! No more post????
Mezzo Piano User
Re: Ghitalla's teachings
Trax, Thanks for the Ghitalla link. There's a lot to learn just from reading it.....crow
Mr. Ghitalla's teachings
I was told Mr. Ghitalla was interested in me presenting a clinic at Rice on my Casual Double High C method. I contacted him and we had a nice conversation and he was talking about possibly doing in the future and I told him I would do it any time that he was ready. He said that there was no money in the budget at the moment. I told him, for him, there would be no charge as his legendary status. He thanked me but said he did not want to set a precedent with the university until the money was there. Unfortunately, we lost him before we even got to speak in person.
I wish we would have met while you were in Houston. Congratulations on your new gig!
Mezzo Forte User
Re: Ghitalla's teachings
This could be my faulty memory, or urban lagend that was presented to me, or a combination of both:
Originally Posted by ilikethetrumpet
In the early 1970's I was told that Bill Chase studied with him, and that he had Bill Chase play Double C's very softly that increased to screaming, exactly as Chase later did on the last note of his second album.
Anybody know if there is any truth to that?
Re: Ghitalla's teachings
I've had a very relaxing and interesting time catching up on your forum, and let me provide a belated welcome, since I've not been online for some time.
It's good to see this thread get "adopted," so to speak. I studied with John Daniel, a wonderful teacher and a man who very deeply cared for Ghitalla and did not dispense them lightly or haphazardly!
I've always wondered about his vibrato. What were his teachings about vibrato? Obviously his is an instantly recognizable sound and a very stylized presence (and it seems that there is more than a bit of Mendez in it)--was that something, to anybody's knowledge, that he attemped to camoflauge? Certainly a couple dozen BSO LPs bring a couple dozen different individual musical approaches, but it's the sound of that vibrato that's almost like a living thing of spinning sound... It can smack post-Herseth ears as idiosyncratic at times, but individuality when wedded to integrity is a rather refreshing approach.
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