Re: Re: Re: Re: Practice schedule


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Posted by Jay Bertolet on August 16, 2001 at 09:16:38:

In Reply to: Re: Re: Re: Practice schedule posted by blown chops on August 16, 2001 at 06:10:27:

John gave some pretty good suggestions regarding learning to play with as little mouthpiece pressure as possible. I especially like the idea of laying on your back and balancing the mouthpiece on your face while trying to buzz. I used to pass a piece of paper between the mouthpiece and my face while continuing to buzz as a similar test. I think the primary goal in this regard is to make the long term investment. Most bad habits are born of a desire to achieve immediate results. For example, you have a problem with your playing, you start experimenting with different techniques to solve the problem, and you adopt the technique that fixes the problem most effectively right away. This is very short term thinking that can have long term consequences in other areas of your playing. That is why I believe a thorough knowledge of basic embouchure fundamentals is necessary to be a good player. I suggest you get some lessons with an accomplished professional who can look at your embouchure and give you advice about how what you're doing will affect your overall playing level. Don't just look at mouthpiece pressure (pushing the mouthpiece at your face) either. Also look at embouchure pressure (the pressing of the lips together). Too much of either type is bad, in my opinion. I think of sound like this:

X + Y + Z = Sound

X is mouthpiece pressure, Y is embouchure pressure, and Z is air pressure. Now, how can I manipulate those three variables to my best advantage? We know the damaging effects of mouthpiece pressure (X). Just ask any jazz band lead trumpeter. And we also know that embouchure pressure (Y) will get tired with overuse. However, has anyone ever heard of air getting tired? Is anyone tired of breathing? Air pressure (Z) is a completely renewable, inexhaustable source of energy. It never wears out, never gets tired, and you simply have to breath in to renew it. I try and manipulate the percentages such that the variables in the above equation total something like X=2%, Y=3%, Z=95%. In any event, I try to keep things where Z is between 85-95 percent of the total. As a result, I never get tired, even playing extensively in the high range. I never hurt my embouchure. Also, my experience so far is that this approach yields pretty solid intonation on my tubas. I suspect it is what I would call a characteristic approach to playing.

I would encourage you to make the long term investment in your playing to learn proper techniques. They may not sound the best immediately but over time, they will yield the sound you want as well as other benefits because they are well designed techniques. Best of luck to you!

My opinion for what it's worth...


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