When I'm Working On The High Register On Brass - Better To Keep Pushing Or Give It A Rest?

Tue Mar fourteen, 2017 6:34 am

My favorite high note practice was posted by WaltTrombone. It's the Remington "Security in the Upper Register" exercise. It takes time and endeavor but yous can utilize it to go hands to the F in a higher place that C. Important: don't try to become ahead of yourself and give yourself some rest if yous flub a note 3 times.

Some other exercise I've washed is the Arban Interval do or as a variation, playing a scale in octave leaps (F-F, G-G, A-A, etc.).

Ever start from what you can do easily and work toward where you lot need work.

Midweek Mar fifteen, 2017 12:50 pm

I'grand going to disagree with everybody here.

I don't think you should do any of those exercises unless you practise them correctly.

No practise volition build range on its own; you accept to have an idea what you're doing and why you're doing it, what correct mechanics are and how they build range.

The difference betwixt correctly and incorrectly can exist subtle. (Not for me, I ordinarily practise them blatantly wrong!)

Post by **ttf_anonymous** » Thu Mar 16, 2017 5:32 am

Quote from: timothy42b on Mar fifteen, 2017, 12:50PMI'm going to disagree with everybody here.

I don't call back yous should exercise whatever of those exercises unless you lot exercise them correctly.

No exercise will build range on its ain; you have to take an idea what yous're doing and why yous're doing it, what correct mechanics are and how they build range.

The difference between correctly and incorrectly tin can be subtle. (Non for me, I commonly exercise them blatantly wrong!)

Agreed. Subsequently years of bad habits and incorrect playing, I'grand finally making serious progress after taking a couple of long distance lessons from Doug. Good teachers are disquisitional to correct learning.

--Andy in OKC

Post by **ttf_afugate** » Thu Mar 16, 2017 6:21 am

Quote from: Geezerhorn on Mar 16, 2017, 06:09AMAlthough one teacher seems to get the bulk of the cheer leading around here, there are others who are excellent equally well!!!! Glad they are around! Different ways of accomplishing the aforementioned terminate goal are always welcome.

...Geezer

Different teachers for dissimilar areas of expertise. And, each teacher connects differently with each student. Information technology pays to have more than one source. But it likewise pays to have a expert idea of which teachers excel in which areas. For example, a great technical studies teacher may non be a great embouchure mechanics teacher. (That was true in my instance.)

--Andy in OKC

Post by **ttf_Geezerhorn** » Thu Mar sixteen, 2017 6:37 am

Quote from: afugate on Mar xvi, 2017, 06:21AMDifferent teachers for different areas of expertise. And, each instructor connects differently with each educatee. It pays to have more than 1 source. But it also pays to have a practiced idea of which teachers excel in which areas. For case, a great technical studies teacher may not exist a nifty embouchure mechanics teacher. (That was true in my case.)

--Andy in OKC

Bottom line is to seek out the one(s) that helps you the best. A caveat though is to non get dislocated over different approaches. So it's probably all-time to accept a wide separation; such as one for the mechanics of playing and a different ane for cocky-expression, if i doesn't do it all for you.

P.South. I take your snipping out the atomic number 82 thought in my statement in your quote to focus on the other to mean that y'all concord with that first indicate. lol

...Geezer

Mail by **ttf_timothy42b** » Thu Mar sixteen, 2017 7:25 am

Quote from: afugate on Mar 16, 2017, 05:32AMAgreed. After years of bad habits and wrong playing, I'yard finally making serious progress afterwards taking a couple of long distance lessons from Doug. Good teachers are disquisitional to right learning.

--Andy in OKC

A practiced teacher is optimal.

In the absence of one, playing adjacent to somebody who plays well can be extremely helpful, in fact a lesson in itself. Sometimes even if he/she tin can't explain what they're doing, if you're next them and hear how they arroyo high notes yous tin kind of get the flavor of it.

Thu Mar 16, 2017 vii:49 am

Quote from: timothy42b on Mar sixteen, 2017, 07:25AMA good teacher is optimal.

In the absenteeism of 1, playing side by side to somebody who plays well tin exist extremely helpful, in fact a lesson in itself. Sometimes even if he/she can't explain what they're doing, if you're next them and hear how they approach high notes you lot can kind of become the flavor of it.

Agreed on both points!

Something I have tried and use from time-to-fourth dimension is to switch to a likewise-small mouthpiece for a couple days to get the feel of hitting higher notes. It seems to and then transfer my ability to focus my aperture and air stream to my normal mouthpiece. Simply this isn't for someone who might go "messed up" by switching rims, even for a couple days.

...Geezer

Thu Mar sixteen, 2017 7:58 am

Quote from: peteriley on Mar xv, 2017, 10:48AM

http://scholarlyrepository.miami.edu/cgi/viewcontent.cgi?article=1536&context=oa_dissertations

There'southward some interesting stuff in in that location (although at least some is probably trumpet specific),

I just read that. I'grand not certain if I'd seen it before or not, retentivity isn't all that reliable. Some parts seemed familiar.

At whatever rate, IMO a beginner should NEVER read it online.

He/she should print it out, use a scissors to cut out the yoga breath section that requires intestinal tension, and throw information technology away. Then read the rest.

I'm non maxim there isn't any value in that department, only the idea of compressing air through abdominal tension is probably going to set a beginner back years.

Thu Mar 16, 2017 8:27 am

Quote from: timothy42b on Mar sixteen, 2017, 07:25AMIn the absenteeism of ane, playing next to somebody who plays well tin can be extremely helpful, in fact a lesson in itself.

I dearest setting next to someone who is better than I am - information technology brings my playing upwards. It is then simple, yet and so effective.

Note: Information technology's the most effective for me when that person plays the same part or at least the same size horn and similar function; i.due east. I become more from setting adjacent to another bass 'bone (which is very infrequent) than I do a tenor

Thu Mar 16, 2017 8:51 am

Quote from: timothy42b on Mar 16, 2017, 07:58AMI but read that. I'm not certain if I'd seen it before or not, memory isn't all that reliable. Some parts seemed familiar.

At any rate, IMO a beginner should NEVER read it online.

He/she should print it out, use a pair of scissors to cutting out the yoga breath section that requires intestinal tension, and throw it away. Then read the rest.

I'm non saying there isn't any value in that department, but the idea of compressing air through abdominal tension is probably going to ready a beginner back years.

What makes y'all country that; experience, advice received or independent reading. Deplorable, only your say-so own't enough.

P.S. Perchance we should keep in heed that the paper referenced in higher up posts was done at the University of Miami.

...Geezer

Mail past **ttf_timothy42b** » Thu Mar 16, 2017 ten:26 am

Quote from: Geezerhorn on Mar 16, 2017, 08:51AMWhat makes y'all country that; feel, communication received or independent reading. Sad, but your potency ain't enough.

My experience is mostly with singers and choir directors.
My observation is that with beginners any guidance other than take a deep relaxed breath leads to at best confusion and at worst catastrophe. If the advice is correct (rare!) then information technology is misunderstood. I have an example in listen correct now but this is public. Come to call back of it, he'due south non computer literate, I'll run a risk. There'south an alto with a nice sound who took him seriously when he kept insisting on support from the diaphragm. Certain enough, she's tightened upwardly, and now she has a tension tremor on every pitch.

Specific to the article, he talks about compression. Trumpet players utilise the word two different ways, to refer to air pressure and lip to lip pinch. He is talking about air force per unit area, produced past abdominal pressure.

ran out of time, more later.

Thu Mar sixteen, 2017 10:33 am

Quote from: timothy42b on Mar 15, 2017, 12:50PMI'm going to disagree with everybody hither.

I don't think you should practise any of those exercises unless you do them correctly.

No do will build range on its own; you have to accept an thought what you lot're doing and why you lot're doing information technology, what correct mechanics are and how they build range.

The difference between correctly and incorrectly can be subtle. (Not for me, I ordinarily do them blatantly wrong!)

Yup. What he said ^^

I recommend getting really solid in the mid to lower range. Build that base every bit wide every bit you peradventure tin can, and the high notes will be more stable.

Thu Mar 16, 2017 10:39 am

Quote from: timothy42b on Mar sixteen, 2017, 10:26AMMy experience is generally with singers and choir directors.
My observation is that with beginners whatsoever guidance other than accept a deep relaxed jiff leads to at best confusion and at worst catastrophe. If the advice is correct (rare!) then it is misunderstood. I have an instance in heed correct now but this is public. Come to think of information technology, he'south not reckoner literate, I'll risk. There's an alto with a dainty sound who took him seriously when he kept insisting on support from the diaphragm. Sure enough, she'south tightened up, and now she has a tension tremor on every pitch.

Specific to the commodity, he talks almost pinch. Trumpet players apply the word two different ways, to refer to air pressure and lip to lip compression. He is talking about air pressure level, produced by abdominal force per unit area.

ran out of time, more later on.

Okay, that is the big caveat I see in the "compression" approach - letting tension creep into the torsal and headal areas, which would exercise more harm than good. Only I'yard having a very difficult fourth dimension making the "compression" approach - in and of itself - bad. It'south how it'south misused. So yeah. If it'south employed, so best under the watchful eye of a great instructor.

...Geezer

Post past **ttf_timothy42b** » Thu Mar xvi, 2017 12:08 pm

Quote from: bonenick on Mar sixteen, 2017, 11:14AMTongue position also adds the to compression'due south creation. On all brass instruments.

I call back that natural language position is of import but I don't think it has to practise with pinch per se.

The air in your mouth is nether extremely depression pressure. In fact in part of the cycle the pressure is so low air can move backwards.

There is no reason to think tightening abdominals causes your air to be more pressurized. What volition happen if you tighten your abs but don't let the air squirt out, your diaphragm volition have to move downwardly to resist the abs force per unit area. And if your rib muzzle doesn't open up when the abs tighten, you tin mayhap crusade a hernia.

Also, the Indian guru who wrote that yoga jiff book never existed. It was forged past a Chicago lawyer.

What I think your tongue does is change the shape and size of your oral crenel to make a resonance chamber at the right frequency. I used the singular deliberately, I call back information technology may exist a Helmholtz resonator rather than supporting overtones just could be wrong.

Post by **ttf_cigmar** » Thu Mar sixteen, 2017 1:24 pm

Quote from: timothy42b on Mar 16, 2017, 12:08PM
What I remember your tongue does is alter the shape and size of your oral crenel to make a resonance bedchamber at the correct frequency.

I tend to agree with Tim. I believe this is basically what occurs during a whistle. The tongue alters the shape and size of the rima oris (as Tim stated) to create the desired pitch on the whistle. Taking that one pace further, one could theorize that if one whistled the exact pitch i was attempting to play on the horn, you would discover the verbal position and shape the tongue should be in to optimize the playing of that item pitch, as far as the tongue goes. Understood, there are many other factors involved.

Mail by **ttf_bonenick** » Fri Mar 17, 2017 3:16 am

I am not a great theory maker, but thus I know:
You lot desire to go all your registers in place? Breathing and embouchure is not enough. You need to find out how your natural language works. By putting y'all tongue upwards you restrict somewhat the air passage and create air stream that has greater speed and succeptible to create higher frequencies. It somewhat counteract with the pressure created by lips and mouthpiece. Don't forget that this mode you lot demand less quantity of air, non more.

I hope I fabricated it clearer now...

Mail service by **ttf_afugate** » Fri Mar 17, 2017 5:26 am

At risk of hijacking this thread...

Quote from: tbathras on Mar 16, 2017, 08:27AMI beloved setting side by side to someone who is amend than I am - information technology brings my playing upwardly. Information technology is and so elementary, yet then constructive.

Note: It's the most effective for me when that person plays the same role or at least the aforementioned size horn and similar part; i.e. I get more from setting next to another bass 'bone (which is very infrequent) than I do a tenor

A few years ago, I was asked to assist out in the beginner room at our local university trombone mean solar day. In the same room was some other trombone player assistant that I had never met. Our job was play along with the kids and to assistance model correct playing. From the moment the other guy picked upwards his horn and played, I started panicking. His audio was glorious! From that point on, every fourth dimension I played and every note I played I tried to friction match him. I of the hardest mornings I've e'er had playing my horn. And it was mostly notes in the first year range of histrion capabilities.

Fast forrard a year afterwards and I establish out that he took over the open second chair in the Oklahoma City Philharmonic.

Philip Martinson. Groovy thespian. Great sound. Great guy.

--Andy in OKC

Post past **ttf_timothy42b** » Friday Mar 17, 2017 5:42 am

Quote from: Geezerhorn on Mar 17, 2017, 04:55AMOh. So at present everyone is poo-pooing the concept of air cavalcade back up.

...Geezer

No.

At best, everyone minus one.

(only I don't recollect I'm the only one on this)

I am poo-poohing the idea that tightening your abdomen volition automatically give you high range.

At that place was a time when the standard wisdom was to tighten your gut as if to take a punch, and that's how you were supposed to play. That isn't universally common wisdom any more, merely to a beginner "yous must support" ways exactly that.

What it really means is ........ well inappreciably everyone talks about it specifically enough to know what it actually means. And in that location are all sorts of variations similar wedge jiff and breast jiff for different ranges.

Mail by **ttf_davdud101** » Fri Mar 17, 2017 5:49 am

Do (nosotros) trombonists talk about pinch differently than trumpeters do? Or are at that place two kinds? (I've heard it sometimes referred to the valves, and other times to the air/natural language system)

Post by **ttf_afugate** » Fri Mar 17, 2017 five:52 am

Paul Stephens is one of the players that Augie Haas cited in his dissertation. He also happens to be a classmate of mine. I've heard him speak on multiple occasions about the concept of the wedge breath. Paul doesn't say its the key to playing in the upper register. He says its the key to getting the correct sound of a lead trumpet in the upper register. It'southward whats needed to become the "sizzle" or "burn" that cuts through the band.

From reading the dissertation, I run into that repeated from others as well.

--Andy in OKC

Post by **ttf_Geezerhorn** » Fri Mar 17, 2017 five:52 am

Quote from: timothy42b on Mar 17, 2017, 05:42AMNo.

At best, everyone minus 1.

(merely I don't remember I'm the but one on this)

I am poo-poohing the idea that tightening your abdomen will automatically give y'all high range.

There was a time when the standard wisdom was to tighten your gut as if to accept a punch, and that's how you lot were supposed to play. That isn't universally mutual wisdom any more, but to a beginner "you lot must support" means exactly that.

What it actually means is ........ well inappreciably anybody talks about it specifically enough to know what it actually means. And there are all sorts of variations like wedge breath and chest jiff for different ranges.

You've corrupted the concept into a freak testify.

...Geezer

Post by **ttf_timothy42b** » Friday Mar 17, 2017 six:01 am

Quote from: davdud101 on Mar 17, 2017, 05:49AMDo (nosotros) trombonists talk about compression differently than trumpeters do? Or are there two kinds? (I've heard information technology sometimes referred to the valves, and other times to the air/natural language system)

Sometimes with trumpets it's hard to tell what system they are talking most. I think they most commonly are talking about air, and I think they really believe it is higher pressure air moving at the aforementioned speed, which makes no sense to me but does to them. But sometimes they seem to be talking most lip to lip force per unit area effectually the aperture, and like y'all say sometimes they mean valves. And so I dunno.

I think trombonists mostly mean aperture but sometimes air also.

Our demands for range aren't equally great, are they? If y'all tin can play to a high C you tin can play at least 95% of what you lot'll run into; if you have a double high C that's about 125%. A lead trumpet might work an equivalent octave college.

Post by **ttf_timothy42b** » Fri Mar 17, 2017 6:23 am

Two quotes from a trumpet forum:

QuoteI was taught as part of the closed lip technique
(to buzz 15-20 minutes a twenty-four hours, lips only). I was told to exercise it to build the right compression muscles fast. Faster than playing. At first it was ho-hum and almost nausiating..and it withal is(ha ha)...but I practise it every day.

The greatest benefit I've gotten with it equally a warm upward prior to a performance to define that eye compression spot...gets lips ready to buzz.

Clearly talking about lip to lip compression.

QuoteMost commonly I'd expect that to hateful that the valves are all the same in good condition, rather than overly worn.
In that sense, the valveslides (which are finer sealed) hold pinch well - that there aren't air leaks in the valveblock (or slides) and the slides volition produce a "pop" dissonance if you lot pull them out without depressing the valves.
If the valves are very worn (which some might even prefer) then the air volition leak out from the slides effectually the side of the valves, generally you become much looser slots and potentially less reliable action when that's the case.
Clearly talking most the horn compression.

I looked for one that talked about air but didn't find it still. I'm sure I've seen it though.

Post by **ttf_Geezerhorn** » Fri Mar 17, 2017 6:32 am

Who cares what trumpet players do anyway, unless we are doubling. Bespeak is, what - if anything - tin we take away for our own apply. I believe air column support is i matter, although we could argue over good vs freakish air column support and what possible caveats there may be - such as tension in places where information technology is counter-productive.

I agree with Andy that a sit-adjacent-to is sometimes just as valuable as a good lesson.

Oh, and haven't we ALL gone the new mpc road! lol

...Geezer

Friday Mar 17, 2017 half dozen:46 am

The constant "new mouthpiece" is a bad idea. You lot current of air up like the trumpet players with a passel of mouthpieces trying to select the one that best covers a detail part. I can just see it. Y'all ask the usher to stop the ensemble while you swap mouthpieces for a particular note

Emory Remington discovered that more resistance makes the upper partials easier to play (perhaps he got his idea from the French Horn). So his "Security in the Upper Register" practise starts in 7th position where the fractional that includes high Bb is easier to find (it's E) and works to shorter and shorter horns. You all of a sudden find that you lot can't hit the annotation in that partial, so you effort to apply the lip compression that seemed to work a half step lower. Others use a gliss from 7 to 1 on that fractional.

Denis Wick (Trombone Technique) talks about a smaller aperture for higher notes and a larger aperture for lower notes.

I've also read somewhere (mayhap Fink "Trombonist's Handbook") that everyman notes are blown straight to the discontinuity of the mouthpiece while higher notes are bounced off the wall of the cup. The college the notation, the closer you "bounce" toward your lips.

Fact remains that increasing range is non an overnight exercise; information technology takes time and attempt.

Post past **ttf_Geezerhorn** » Fri Mar 17, 2017 6:58 am

Quote from: BGuttman on Mar 17, 2017, 06:46AMThe abiding "new mouthpiece" is a bad idea. You air current up like the trumpet players with a passel of mouthpieces trying to select the one that all-time covers a item role. I tin just see it. You ask the conductor to finish the ensemble while you swap mouthpieces for a particular notation

Emory Remington discovered that more resistance makes the upper partials easier to play (maybe he got his idea from the French Horn). So his "Security in the Upper Annals" practice starts in 7th position where the fractional that includes high Bb is easier to find (it'due south E) and works to shorter and shorter horns. You of a sudden discover that you can't hit the note in that fractional, then y'all try to use the lip pinch that seemed to work a one-half stride lower. Others use a gliss from seven to 1 on that partial.

Denis Wick (Trombone Technique) talks about a smaller aperture for higher notes and a larger aperture for lower notes.

I've besides read somewhere (maybe Fink "Trombonist's Handbook") that lowest notes are blown direct to the aperture of the mouthpiece while college notes are bounced off the wall of the cup. The higher the note, the closer yous "bounce" toward your lips.

Fact remains that increasing range is not an overnight exercise; it takes time and effort.

Only a fool would advocate swapping mpcs to THAT freakish extent! However, I have heard the stories most swapping out in the middle of a solo. Hey. Whatever works, but that's an extreme arroyo to say the very to the lowest degree.

I believe that control over the size/shape of the aperture to be MUCH more productive than gyrating the horn all around on the chops.

I've seen the posts where at that place have been claims of gaining a fifth or so literally overnight. The merely scenario I can see for those claims were some fundamental flaw corrected and/or the original "loftier" notation wasn't very loftier at all to brainstorm with. It doesn't stretch my imagination very much to think of a beginning straight tenor student "stuck" on D above the staff to suddenly exist instructed to blow a nice F above the staff. Only going from a nice high C to a nice high F ever - yep always - takes some real patience and effort.

...Geezer

Post by **ttf_ddickerson** » Fri Mar 17, 2017 7:43 am

Quote from: Geezerhorn on Mar 16, 2017, 06:09AM
Although 1 instructor seems to get the bulk of the cheer leading around here, there are others who are first-class every bit well!!!! Glad they are around! Different ways of accomplishing the same terminate goal are always welcome.

...Geezer

The reason one instructor gets a lot of cheer leading effectually here is because of his success with students. He has a proven track record that should give a level of confidence to a new pupil seeking corrective advice.

Post by **ttf_timothy42b** » Friday Mar 17, 2017 8:08 am

Well, we've gone down a lot of paths, and I'm not certain how much we've helped the OP.

To epitomize, he can play a high C but information technology's strained and unreliable, and he needs information technology solid in a couple of months. What should he do?

What I would propose:

A lesson would probably help. Failing that, do brief range exercises always with sufficient rest. Fatigue will kill your chances of expanding your range.

High range is a combination of forcefulness and knack (some call it technique or mechanics). I'd guess it might exist 25% strength to 75% skill. You tin can't get to that skill when tired, and so play high simply cautiously. If you're working difficult you're doing it wrong.

Don't don't don't think virtually breath back up over the short term. Yous're more likely to exercise harm than expert. Yes I think information technology's important, but I don't call up whatsoever written explanation can assistance.

Fri Mar 17, 2017 8:14 am

Quote from: ddickerson on Mar 17, 2017, 07:43AMThe reason one instructor gets a lot of cheer leading around here is considering of his success with students. He has a proven track record that should give a level of confidence to a new student seeking corrective advice.

Maybe. But I fright we do a grave disservice to other slap-up instructors on this Forum by largely ignoring them and seldom referring to them by name for their valuable efforts in pedagogy. IOW's; it'southward lop-sided.

Mayhap someone would similar to commencement an "Instructor Recognition" thread and first giving others who have had a major influence on their playing - due credits.

...Geezer

Fri Mar 17, 2017 viii:fifteen am

Quote from: timothy42b on Mar 17, 2017, 08:08AMWell, nosotros've gone downwards a lot of paths, and I'k non sure how much we've helped the OP.

To recap, he can play a high C but it's strained and unreliable, and he needs it solid in a couple of months. What should he do?

What I would propose:

A lesson would probably aid. Failing that, do brief range exercises ever with sufficient rest. Fatigue will kill your chances of expanding your range.

Loftier range is a combination of strength and knack (some call it technique or mechanics). I'd guess it might be 25% strength to 75% skill. You tin't get to that skill when tired, and then play loftier but charily. If you're working hard you're doing information technology incorrect.

Don't don't don't think almost breath support over the curt term. You're more likely to do harm than good. Yeah I think it's important, only I don't think any written caption tin can help.

Agreed, except your percentages are very arguable. Why? Information technology depends upon what strength yous are talking about. Gut-busting, bullish brute car-lifting force? No. Forcefulness in the extremely selective pocket-size and highly localized discontinuity muscles? Lots of that. Like trying to wiggle the eyebrows in different directions at the same fourth dimension. Extremely pocket-sized and highly localized muscle forcefulness. And a lot of co-ordination, finesse, etc. Some of us take Dna enabling united states of america to control some fine muscles more naturally while others of us have to work on developing the strength AND the feel of it.

...Geezer

Post by **ttf_bonenick** » Fri Mar 17, 2017 8:58 am

I don't know about percentages, but to me, loftier register playing is much more than about control and refined mechanics. Not fauna force and blowing someone's caput off.

Post past **ttf_Geezerhorn** » Fri Mar 17, 2017 nine:17 am

Quote from: bonenick on Mar 17, 2017, 08:58AMI don't know about percentages, but to me, high register playing is much more about control and refined mechanics. Not creature strength and blowing someone'southward caput off.

No argument. But force is also important. If forcefulness weren't a disquisitional factor in everything we would quickly die. How many species on this planet have gone extinct for the lack of force to survive.

Brass wind instruments are unique. We have to practise long & hard for the proper technique to flourish and nonetheless muscles demand rest to rebuild. So there is a delicate balance. Over blow in a session and pay the toll the side by side session or day. With pianists, not as much.

Perchance a good discussion on playing high ought to involve how nosotros condition our bodies in general likewise every bit our minds. I don't know if this is beneficial to me - feel costless to chinkle in yeah or nay - but I like to take a couple of either Ibuprofen or Tylenol afterwards a tough session - to aid reduce inflammation. This is Non advice.

...Geezer

Post by **ttf_Geezerhorn** » Fri Mar 17, 2017 nine:40 am

Quote from: timothy42b on Mar 17, 2017, 09:20AMI would argue that loftier range is more like the athleticism of the ballet dancer than the wrestler.

I think you would get in on that argument. In fact, I hope VERY far. lol

Seriously, though. Yep. Simply I could debate that a earth-class Olympic wrassler is going to take simply as much refinement of technique to go with his strength and conditioning. Personally, I would too rather think of the ballerina.

...Geezer

Mail by **ttf_peteriley** » Fri Mar 17, 2017 9:58 am

Quote from: Geezerhorn on Mar 16, 2017, 08:51AMWhat makes you state that; feel, advice received or independent reading. Sorry, merely your say-and then own't enough.

P.S. Perhaps nosotros should continue in mind that the paper referenced in in a higher place posts was done at the Academy of Miami.

...Geezer

Glad to see these two opposing viewpoints. This was a point that really intrigued me. The guy's thesis built on previous works/books published past famous trumpet players who had advocated this technique. The "wedge" or "yoga" animate seemed interesting. I mentioned it to a couple of professional trombonists recently, and they just rolled their eyes. It seems like for the trombone yous tin become proficient-plenty air support from deep breaths, pushing out the lower stomach. Perhaps the wedge animate is for getting out that octave above the trombone range? I'one thousand still working on getting the octave beneath that to sound prissy

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