gms979

Greetings,

Posted this in TH, but would love to get feedback here as well...

So, I recently became aware of a horrible habit that had crept into my playing in recent years....a very narrow dynamic range. Playing 95% at a mf-f level, and only rarely going louder or softer. I've been forcing myself to play soft in recent days, and it REALLY seems seems to have helped with response, control, and eliminating the feeling that I'm "blowing my embouchure" out of position. And when I return to a loud passage, everything clicks more effectively.

Then I read the who's who list of people I can think of who stress soft playing whenever I read their articles or listen to firsthand accounts. Hakan Hardenberger and Herbert L. Clarke come immediately to mind....Chris Gekker and Hiro Noguchi have talked/written about this alot as well. And I'm sure the list goes on and on.

What exactly do you all think soft playing does for one's "game?" I have my own theories, but I'd love to hear you all think.

Thanks,
Greg

MalinTrumpet

Great topic!

First of all, music without dynamics isn't music at all: it's just a bunch of notes. If I don't make sure I'm playing interesting dynamics in my practice I'm not going to be able to do it in rehearsals and concerts. My experience working with young students and some college age kids is that they very often get into what I call "no dynamicland" where everything just comes out mf to f. Often they start a with good dynamic intensions but then get caught up in notes and dynamics are quickly forgotten. There's a certain physical security that one gets from playing loud. It really feels like your doing something on your chops. Soft playing doesn't feel so secure.

I love to pracice. When I do a technical routine I can practice longer by playing it softer. It takes much less effort to practice softer.

I remember Jim Thompson, whom I admire, telling my "your soft playing is your money playing". I read an interview with Maurice Andre who also talked about practicing technique at a soft volume.

My own teacher, Ray Mase, often talks about exagerating dynamics. It's very rare that a conductor or composer will tell you that you're phrasing too much or putting too much emphasis on dynamics or hairpins. It's usually the other way around.

Larry Malin

dnlrsnbm

This is an area too often ignored by trumpet players especially. I had a really rude awakening when I spent a month touring with a German orchestra. I had always considered my self a player with great dynamic range. Then I got in this orchestra. Granted, it was sort of a chamber orchestra size and the conductor was obsessed with what he called their, "World Famous Pianissimo," but I had no idea what soft really was. We're talkin' whisper volume...and sometimes that was too loud. Here I was in a situation being asked to play 90% of everything at a dynamic I never even realized was possible, and my job depended on it. (I later quit the job, but that's a different story and there are different reasons for that). But what was interesting was that the principal trumpet, named Ioannis Kerempetsos, from Athens, was all over it. This guy could play everything (LITERALLY) at a softer dynamic than I could whisper it, and sound clean with core and resonance. That's virtuosity. Then a little burst of air and his sound would liven up like nobody's business. Basically, this experience opened my eyes a great deal, and since then have focused probably 75% of my practice time on playing at absurdly soft dynamics. Jim Thompson, Malcolm McNabb, Edward Carroll, and Jens Lindemann, and Roy Poper, the various teachers I've had over the years are all in complete agreement with this as well. Malcolm almost never practices above pp. This is one of the most "in-control" players ever, considering his career has hinged on his ability to sight read everything and NEVER miss. What does that say about the benefits of soft practice? EVERYTHING. I'm sold...

Dan
www.danielrosenboom.com
www.plotzmusic.com [/b]