Just a short post in introduce and welcome Woodwind/Brasswind Company to my site. I highly endorse the Kelly Clear Mouthpieces for embouchure viewing and recommend that all of my student/teachers own a set of Trumpet/Cornet/Trombone/French Horn and Tuba CLEAR mouthpieces.
Dave S.
Friday, August 13, 2010
The Category of Range
Of all "topics" of brass playing categories, Range seems to be the "burning issue", especially among the young performer. As a first in a series of Categories of Brass Playing I have chosen Range for this very reason - the "burning issue".
What is range? A good question. High notes? I think not. The very word "range" means covering a certain distance, so asking someone "what is your range?" he/she may answer "Oh, I can play a high C." Ah, so what is that person's "range"? One note? A person's range is from his/her lowest note to his/her highest note. For instance, from a low F# to a high C is a range of 2 1/2 octaves.
A good playable range, in today's playing field for trumpet is 3 octaves, say from G below low C to G above high C. A trombone's range is considerably wider, including the instrument's pedal notes [naturally produced on trombone, but unaturally produced on trumpet, due to not being available on the instrument without "lip manipulations" or, in come cases "lip and/or jaw distortions" of some sort - ed.] that may be more like 4 octaves. A trombone player's range is much easier to attain than a trumpet player's range and with a slide assist [a later topic -ed.] there is no excuse for this not to be true.
Certain principals of playing need to be addressed and certain "myths" need to be expelled to make it possible to delve into this subject in depth. Let's start with an established "truth" (myth) that has been passed down through generations of brass teachers and method books, that "A good high register is built on a good low register(foundation, so to speak)." This is what I will call a "half-truth". The correct statement should be thus: "A good high register is build on a good low register if the low register is played correctly." [emphasis mine - ed.]
How to play the low register correctly to ensure a good high register? The topic of our next Post. This "How to..." will definitely apply to the beginner as well as to any brass player struggling with range.
Dave
What is range? A good question. High notes? I think not. The very word "range" means covering a certain distance, so asking someone "what is your range?" he/she may answer "Oh, I can play a high C." Ah, so what is that person's "range"? One note? A person's range is from his/her lowest note to his/her highest note. For instance, from a low F# to a high C is a range of 2 1/2 octaves.
A good playable range, in today's playing field for trumpet is 3 octaves, say from G below low C to G above high C. A trombone's range is considerably wider, including the instrument's pedal notes [naturally produced on trombone, but unaturally produced on trumpet, due to not being available on the instrument without "lip manipulations" or, in come cases "lip and/or jaw distortions" of some sort - ed.] that may be more like 4 octaves. A trombone player's range is much easier to attain than a trumpet player's range and with a slide assist [a later topic -ed.] there is no excuse for this not to be true.
Certain principals of playing need to be addressed and certain "myths" need to be expelled to make it possible to delve into this subject in depth. Let's start with an established "truth" (myth) that has been passed down through generations of brass teachers and method books, that "A good high register is built on a good low register(foundation, so to speak)." This is what I will call a "half-truth". The correct statement should be thus: "A good high register is build on a good low register if the low register is played correctly." [emphasis mine - ed.]
How to play the low register correctly to ensure a good high register? The topic of our next Post. This "How to..." will definitely apply to the beginner as well as to any brass player struggling with range.
Dave
Sunday, August 8, 2010
BRASSolutioins - A Preview
Almost 70 years ago, Dr. Reinhardt printed DETAILED PLAYING PROBLEMS in his "Pivot System - A Complete Manual with Studies". (Now out of print) My new book "Solutions" is not only a tribute to the genius of Donald S. Reinhardt but a continuation into the present of his original "solutions" of the common playing problems of his day. This is what he said then:
DETAILED PLAYING PROBLEMS
I. Fuzz on the Tone
Caused by:
A. An improper mouthpiece contact on the lips due to:
1. Too little mouthpiece pressure.
2. Too much mouthpiece pressure.
3. Too much saliva(faulty diet, natural causes, etc.)
4. Fatigued or swollen lips caused by strain.
5. Improper PIVOTING
6. Tonguing between the teeth and lips
7. Improper mouthpiece placement
8. The vibrating points of the lips having been burned
by eating over-heated foods.
9. Chapped, cracked or feverish lips.
10. Cold sores, fever blisters, etc.
ll. The lips being heavily coated from nicotine, upset stomach,
etc.
12. Undeveloped lips.
13. The vibrating points of the lips being too dry.
14. Shaving too closely.
15. A mustache
B. An unsuitable mouthpiece for your type of lips, teeth, jaw,
gums, etc.Remember the back bore of the mouthpiece
must correspond to the bore of the instrument and
the mouthpiece must be designed with proper
proportions of the rim, cup, throat and back bore.
C. An instrument or mouthpiece that is dirty inside.
D. Improper breathing (neck bulging, etc.)
E. Puffing your cheeks, if you are not the type.
F. Improper tongue-level.
G. Improper Posture.
H. A leaky instrument.
I. Contracting the throat (head too far forward).
Corrected by:
Studying diligently and applying all the basic theories
of this manual and studies until they become a natural playing
habit. [Note: you will find The Reinhardt Routines + CD
as the modern version of these studies on my
website www.AirstreamDynamics.com in the Products page.
II. Rattles and Overtones
A. Almost always brought on by some form of playing strain. It is
an uncontrollable involuntary lip vibration. [Note: Very common in
a Type IV upstream performer.-ed.]
Caused by:
1. Too many high notes.
2. Playing fortissimo before warming up thoroughly.
3. Improperly balanced practice.
4. Too much playing without resting.
5. Changing mouthpieces and instruments too frequently.
6. Playing with too much mouthpiece pressure.
7. Swollen, strained, spread-lips.
8. Loss of sleep, etc.
9. Reversing the natural PIVOT.
10. Over-pivoting.
ll. A shifting, bobbing mouthpiece.
12. Tonguing between the teeth and lips.
13. Excessive chin or lip vibrato.
Corrected by:
1. Not practicing too many high notes.
2. Warming up correctly
3. Resting more often.
4. Playing softly the notes that rattle.
5. Pianissimo sustained tones on the rattle notes daily.
6. Balancing the practice period.
7. Adjusting a faulty PIVOT.
8. Avoiding strain.
9. Using only one mouthpiece.
10. Maintaining the anchor-spot when breathing (Note: upper lip in a
Downstream player and the lower lip in an Upstream Player -ed.)
11. Using less mouthpiece pressure.
12. Not tonguing between the teeth and lips.
13. Maintaining a correct diet.
14. Adopting a hand vibrato.
So look for the book "SOLUTIONS", which will include solutions beyond 1940 solutions devised by Dr. Reinhardt to cover
the present-day brass players' mechanical problems and will even delve
into the "psychological" practice and performance stymies that one may
encounter as well.
- Dave Sheetz
DETAILED PLAYING PROBLEMS
I. Fuzz on the Tone
Caused by:
A. An improper mouthpiece contact on the lips due to:
1. Too little mouthpiece pressure.
2. Too much mouthpiece pressure.
3. Too much saliva(faulty diet, natural causes, etc.)
4. Fatigued or swollen lips caused by strain.
5. Improper PIVOTING
6. Tonguing between the teeth and lips
7. Improper mouthpiece placement
8. The vibrating points of the lips having been burned
by eating over-heated foods.
9. Chapped, cracked or feverish lips.
10. Cold sores, fever blisters, etc.
ll. The lips being heavily coated from nicotine, upset stomach,
etc.
12. Undeveloped lips.
13. The vibrating points of the lips being too dry.
14. Shaving too closely.
15. A mustache
B. An unsuitable mouthpiece for your type of lips, teeth, jaw,
gums, etc.Remember the back bore of the mouthpiece
must correspond to the bore of the instrument and
the mouthpiece must be designed with proper
proportions of the rim, cup, throat and back bore.
C. An instrument or mouthpiece that is dirty inside.
D. Improper breathing (neck bulging, etc.)
E. Puffing your cheeks, if you are not the type.
F. Improper tongue-level.
G. Improper Posture.
H. A leaky instrument.
I. Contracting the throat (head too far forward).
Corrected by:
Studying diligently and applying all the basic theories
of this manual and studies until they become a natural playing
habit. [Note: you will find The Reinhardt Routines + CD
as the modern version of these studies on my
website www.AirstreamDynamics.com in the Products page.
II. Rattles and Overtones
A. Almost always brought on by some form of playing strain. It is
an uncontrollable involuntary lip vibration. [Note: Very common in
a Type IV upstream performer.-ed.]
Caused by:
1. Too many high notes.
2. Playing fortissimo before warming up thoroughly.
3. Improperly balanced practice.
4. Too much playing without resting.
5. Changing mouthpieces and instruments too frequently.
6. Playing with too much mouthpiece pressure.
7. Swollen, strained, spread-lips.
8. Loss of sleep, etc.
9. Reversing the natural PIVOT.
10. Over-pivoting.
ll. A shifting, bobbing mouthpiece.
12. Tonguing between the teeth and lips.
13. Excessive chin or lip vibrato.
Corrected by:
1. Not practicing too many high notes.
2. Warming up correctly
3. Resting more often.
4. Playing softly the notes that rattle.
5. Pianissimo sustained tones on the rattle notes daily.
6. Balancing the practice period.
7. Adjusting a faulty PIVOT.
8. Avoiding strain.
9. Using only one mouthpiece.
10. Maintaining the anchor-spot when breathing (Note: upper lip in a
Downstream player and the lower lip in an Upstream Player -ed.)
11. Using less mouthpiece pressure.
12. Not tonguing between the teeth and lips.
13. Maintaining a correct diet.
14. Adopting a hand vibrato.
So look for the book "SOLUTIONS", which will include solutions beyond 1940 solutions devised by Dr. Reinhardt to cover
the present-day brass players' mechanical problems and will even delve
into the "psychological" practice and performance stymies that one may
encounter as well.
- Dave Sheetz
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