Awsom Mr Rawlin, thank for your explanation ,especialy that " you can fell the vibration in your lower lip"helped me a lot, i´ve studied your clip/info for 2 day´s now,seen/heard it about 30 times,also the pencilinfo/clip is very helpfull,,,,,wish a lot off inspiration and fun too.
You must know that I have had more success in the five or six months of watching your videos than in my previous thirty five years of playing. After reading Farcus, Roy Stevens, and then watching you, I have had a great increase in range and endurance. I wish i would have had your advice a long time ago. Development can't happen until we have the correct set. The lips must stay over each other so that the bottom lip stays where it should. I have watched many pro players, including my dad, jut his jaw out periodically throughout an entire night of playing.
When the alignment is correct the chops do not have to hold the set by themselves. The flesh and muscle around the lips especially the anchor depressors and the mentalis provide all the support the red lip needs to maintain a vibration without stretching or flattening. The key is to find the proper angle of the lower jaw to allow these two muscle groups to respond to the air in a closing action. This leaves the red between the open teeth and does not need the red to tighten itself or pull itself against the teeth to stretch or loosen for moving up and down. So happy you have discovered this miracle.
next example: Tine Thing Helseth & tango trio - Libertango, by Piazzolla (live, 2009) never make a bull dog. She has the less moving face muscles I ever seen.
Awsom Mr Rawlin, thank for your explanation ,especialy that " you can fell the vibration in your lower lip"helped me a lot, i´ve studied your clip/info for 2 day´s now,seen/heard it about 30 times,also the pencilinfo/clip is very helpfull,,,,,wish a lot off inspiration and fun too.
You must know that I have had more success in the five or six months of watching your videos than in my previous thirty five years of playing. After reading Farcus, Roy Stevens, and then watching you, I have had a great increase in range and endurance. I wish i would have had your advice a long time ago. Development can't happen until we have the correct set. The lips must stay over each other so that the bottom lip stays where it should. I have watched many pro players, including my dad, jut his jaw out periodically throughout an entire night of playing.
When the alignment is correct the chops do not have to hold the set by themselves. The flesh and muscle around the lips especially the anchor depressors and the mentalis provide all the support the red lip needs to maintain a vibration without stretching or flattening. The key is to find the proper angle of the lower jaw to allow these two muscle groups to respond to the air in a closing action. This leaves the red between the open teeth and does not need the red to tighten itself or pull itself against the teeth to stretch or loosen for moving up and down. So happy you have discovered this miracle.
Thank You
Thanks! I don't play like this but I'm sure I'll have a student who may benefit from this method! Just another tool in the bag!
Hi George could you look at a couple of my amateur videos and give me any advice on air escape!.
nice vid
bull dog:
Sergei Nakariakov.W.A.Mozart-Horn Concerto No.4 (y.1786)
next example:
Tine Thing Helseth & tango trio - Libertango, by Piazzolla (live, 2009)
never make a bull dog.
She has the less moving face muscles I ever seen.