Trumpet Discussion Discuss I find that very hard to believe... in the General forums; That's a quote from ML. When I showed him my Marcinkiewicz C3 and then showed him my Marcinkiewicz E14 (his ...
I find that very hard to believe...
That's a quote from ML. When I showed him my Marcinkiewicz C3 and then showed him my Marcinkiewicz E14 (his reaction to THAT little pea shooter was fun to see), I explained that I could not play nearly as high on the C3 as I could on the E14.
"OH, I find that very hard to believe."
ML then picks up my horn and the C3 and proceeds to play smoothly just as high as I could ever hope to hear.
Of course, at this point I feel about three inches tall, but I digress...
My point was, he was essentially right -- there's no reason I shouldn't be able to get that high on either piece. Aside from all the work regarding opening up the sound and proper breath, two things really solidified that theorem:
1) Use of the "tooh" instead of "tah" "tooh" "Tee". What a cancer that has been for me over the years!!!! It's amazing how much you can open up your sound and focus it with that once simple concept.
2) Keeping the head back and bringing the horn to it. I thought about that and noticed How Maynard plays, as well as a local screamer i've always enjoyed playing with. They keep their head back and bring the horn to their face, intead of reaching out to the horn as I am prone to do.
I decided the other day to give it a try. I grabbed my C3 and decided to do a scale right on up as high as I could go startnig from high C. The only thing I focused on was "tooh", keeping my head back, and otherwise staying relzed and hearing the pitch in my head (which is admittedly hard for me, as my brain just automatically eiher shuts off above a certain point, or my tongue starts to shift into an E position subconciously). I started at C, then D, E, F, G....I probably could have gone higher still, but decided to stop right there.
A G above high C on a mouthpiece that prior to last week I had never been able to reach above a D before.
I have a LONG ways to go before any of that becomes a playable part of my range on a mouthpiece like that, but what an eye opener.
ML knows his stuff. And for that I thank you very much, Manny. I see I have my work cut out for me, but I also see that I can do things I didn't think possible.
anyway...well...I'm tired (check the timestamp). Just had to say thanks to ML and kudos, I can see a bright road ahead!!!
There are 10 kinds of people in the world: Those who understand binary and those who do not.
I totally agree. A player ought to have the same range on any piece. The only difference is the sound. In the higher registers, on a big piece, the sound is just.... not what I want to hear. Get a lil shallower piece, play the same stuff, sounds great. I think that is why we always get caught up in a mpc safari (me included, recently) because we are lookin' for that magical piece that will play all... don't exist.
Happy easter all!
Along similar lines, I have seen similar effects of the "tooh" approach. Along with "barrel in, hourglass out" and "toes forward, head over the spine". I have also used these with my students, and seen a great amount of progress there too.
We owe Manny a great debt of gratitude for these lessons he gives us. This forum feels much like a studio where we are his students. It is our responsibility to pass along to others what he is sharing.
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