Hi Donovan your videos have been very helpful to me. Especially the ones about Reinhardt's embouchure systems. I learned i was a type 4 player, but the only way I can stop my air to articulate is by touching my tongue to my lips. I would really appreciate it if you made a video on Reinhardt's tongue types. You're awesome man and super helpful. Thanks!
I've had a lot of the same feelings you did (big gaps in playing, couldn't figure out why things didnt work, etc...) Even just dabbling with pivoting (I guess I pivot up), I have seen much more ease in sluring and more controlled range. Thanks for this!
Great to hear your honesty. I had same experience at Music College years ago. More practice deteriorated the playing. This business of trying hard but not making a breakthrough. Good video.
As a professional trumpet player I was a Brandenburg kinda guy. Mostly high stuff until I had a dental misadventure - my two top front teeth had to be rebuilt and afterwards I couldn't play a note - literally, no sound came out. I went to the local embourchure god who, got me playing again, using most JAmes Stamp. Tons of buzzing that I never could properly do, but ... other problems crept up. Tightening throat, dass where nothing owrked. Diminishing self-confidence. I ended up stopping all playing for 9 years, only conducted, taught conducting and ensemble methods. Then, I picked up a trombone, determined to just have fun and NOT to repeat any of the the previous mistakes that screwed me up physically and mentally. No buzzing, concentrating on getting a good sound in all registers, from the middle outwards up and down. 5 years later at age of 45, I got a trombone and euphonium diploma. In preparation for that, I bought a bass trombone to help open my lower register and broaden my tone. With declining health, I retired from my orchestral bass trombone position and promptly had a heart attack, which put my playing on "hold" for about 6 months. In that time I view countless videos made by bass trombone players concerning the lowest as well as the highest registers. They all to one extent or another spoke of what they called "the shift" or "the pivot", without mentioning Reinhardt. It's basically puckering and shifting the airstream to a concentrated downward flow, the higher the more radically along the imaginary line of the lower jaw. But to play in the low to lowest registers, one opens the mouth cavity, bringing the lower jaw forward a bit and blowing eith directly parallel to the ground or even upwards. There is often a pressure shft from the upper lip to the lower lip, anchoring on the lower lip instead of the upper lip. Now here's the weird part. You initially practice softly without this pivot to get into the lower register and it works (for me) down almost to the pedals at a ppp-mp dynamic. This changes as to my condition and endurance. The more tired I get, the earlier I need to "shift" the airstream direction. In my case there is also a slight intonation dip with extreme shifting, so I need to pull a little sharper to conpensate for flatness. In any case, I now have a usable range between pedal E-flat 4 leger lnes below bass staff up to high c (third space in the treble staff). I'm retired now, but have a routine starting with airfolow edxercises based upon Chichowiz that gradually open my playing from the middle in both directions simultaneously. Then I "work" a bit on going from the middle range into my lower/lowest rgisters and then do some low range tuba exercises. This solidifies this low range while not "losing" the middle. And every now and then I simply do a 4 octave arpeggio from pedal b-flat up to high b-flat and notice how this airtream shift works. What doesn't move, although it's not forbidden on bass-bone, is a placement shift of the height of the mouthpiece for upper notes or lower notes. I'm about 45% upper lip which is rather rare for tuba or bass trombone. Usually these folks like to place 60-70% on the upper lip. Doesn't work for me. The terms "shift" or "pivot" have become fluid with the decades. Some of the best players I know have huge embouchure shifts and angle of attack shifts, but still other terrific players play on poured concrete embouchures - no movement whatsoever. Having done or trieed to do both, I'm now a firm believer, that there is no one right way. One has to find what works and sometimes do so knowing that what works for most things my actually cause deficits in other areas. The main question becomes: can I love with that. My present limit is upstairs high c and pedal e-flat downstairs. I can live with that.
EVERY player has a pivot - period. But the pivot is not entirely what you think. It's an embouchure shift. Reinhardt says that some players, due to their teeth formation, have a pivot subtle enough to be accomodated by embouchure pucker.
Finding out your type would be very beneficial to you. I would encourage you to take a lesson with a Reinhardt instructor to find out what is going on. www.dougelliottmouthpieces.com/prices.html wilktone.com/
Watched this video 2X. Then tried it. When I moved down, C to G was easy. When I moved up and it fell apart. I also am a lower placement player. What's next?
You are a Classification 2 Pivot, and might be a Type IV player. I HIGHLY recommend you get a lesson with a Reinhardt instructor. Chris Larbara would be your best bet!
Well.. in my 3 month of playing, I hit double high C. 710” inner diameter. Without any methods. Just me with myself. But so very much effort in lips. Now I am 10 months old and I play MFlll monette, I play A above High C, and my tone is damn flat and good without any books. I am not able to do in the same way the double C. But with a different lip set up I easily do the double high D. But is not flat and as it should be, not with all the lip vibrating.. Yeah.. Just pray to god for help and practice. You ll Figure it out. But we re not so special, for lips like Maynard’s are rare.. or Paul Stephens
Hi Donovan your videos have been very helpful to me. Especially the ones about Reinhardt's embouchure systems. I learned i was a type 4 player, but the only way I can stop my air to articulate is by touching my tongue to my lips. I would really appreciate it if you made a video on Reinhardt's tongue types. You're awesome man and super helpful. Thanks!
I'm not an expert on his tongue types, but you should definitely check out the TCE videos I've made...
I've had a lot of the same feelings you did (big gaps in playing, couldn't figure out why things didnt work, etc...) Even just dabbling with pivoting (I guess I pivot up), I have seen much more ease in sluring and more controlled range. Thanks for this!
Glad you found it useful!
Great to hear your honesty. I had same experience at Music College years ago. More practice deteriorated the playing. This business of trying hard but not making a breakthrough. Good video.
Thank you! It's been a game changer for me.
As a professional trumpet player I was a Brandenburg kinda guy. Mostly high stuff until I had a dental misadventure - my two top front teeth had to be rebuilt and afterwards I couldn't play a note - literally, no sound came out. I went to the local embourchure god who, got me playing again, using most JAmes Stamp. Tons of buzzing that I never could properly do, but ... other problems crept up. Tightening throat, dass where nothing owrked. Diminishing self-confidence. I ended up stopping all playing for 9 years, only conducted, taught conducting and ensemble methods.
Then, I picked up a trombone, determined to just have fun and NOT to repeat any of the the previous mistakes that screwed me up physically and mentally. No buzzing, concentrating on getting a good sound in all registers, from the middle outwards up and down. 5 years later at age of 45, I got a trombone and euphonium diploma. In preparation for that, I bought a bass trombone to help open my lower register and broaden my tone.
With declining health, I retired from my orchestral bass trombone position and promptly had a heart attack, which put my playing on "hold" for about 6 months. In that time I view countless videos made by bass trombone players concerning the lowest as well as the highest registers. They all to one extent or another spoke of what they called "the shift" or "the pivot", without mentioning Reinhardt. It's basically puckering and shifting the airstream to a concentrated downward flow, the higher the more radically along the imaginary line of the lower jaw. But to play in the low to lowest registers, one opens the mouth cavity, bringing the lower jaw forward a bit and blowing eith directly parallel to the ground or even upwards. There is often a pressure shft from the upper lip to the lower lip, anchoring on the lower lip instead of the upper lip. Now here's the weird part. You initially practice softly without this pivot to get into the lower register and it works (for me) down almost to the pedals at a ppp-mp dynamic. This changes as to my condition and endurance. The more tired I get, the earlier I need to "shift" the airstream direction. In my case there is also a slight intonation dip with extreme shifting, so I need to pull a little sharper to conpensate for flatness. In any case, I now have a usable range between pedal E-flat 4 leger lnes below bass staff up to high c (third space in the treble staff). I'm retired now, but have a routine starting with airfolow edxercises based upon Chichowiz that gradually open my playing from the middle in both directions simultaneously. Then I "work" a bit on going from the middle range into my lower/lowest rgisters and then do some low range tuba exercises. This solidifies this low range while not "losing" the middle. And every now and then I simply do a 4 octave arpeggio from pedal b-flat up to high b-flat and notice how this airtream shift works. What doesn't move, although it's not forbidden on bass-bone, is a placement shift of the height of the mouthpiece for upper notes or lower notes. I'm about 45% upper lip which is rather rare for tuba or bass trombone. Usually these folks like to place 60-70% on the upper lip. Doesn't work for me.
The terms "shift" or "pivot" have become fluid with the decades. Some of the best players I know have huge embouchure shifts and angle of attack shifts, but still other terrific players play on poured concrete embouchures - no movement whatsoever. Having done or trieed to do both, I'm now a firm believer, that there is no one right way. One has to find what works and sometimes do so knowing that what works for most things my actually cause deficits in other areas. The main question becomes: can I love with that. My present limit is upstairs high c and pedal e-flat downstairs. I can live with that.
EVERY player has a pivot - period. But the pivot is not entirely what you think. It's an embouchure shift. Reinhardt says that some players, due to their teeth formation, have a pivot subtle enough to be accomodated by embouchure pucker.
Had a face to face lesson with Chris Labarbera today. I'm a 3b. Hoping this Reinhardt journey works. Lucky to have Chris 15 min away.
That's awesome! I'd love to hear more about your lesson with Chris! How is he doing?
Low placement player
I see my top lip working more
I think I put it about 50/50
Finding out your type would be very beneficial to you. I would encourage you to take a lesson with a Reinhardt instructor to find out what is going on.
www.dougelliottmouthpieces.com/prices.html
wilktone.com/
Gotta ask, what kind of Harley do you ride?
Like your videos BTW
Thank you!
I don't ride a Harley (just went to the museum), but I do ride a Kawasaki Concours 14.
@@trumpetthoughts awesome! Riding is riding.
Jim Manley is a great guy I’ve taken a lesson from him
Watched this video 2X. Then tried it. When I moved down, C to G was easy. When I moved up and it fell apart. I also am a lower placement player. What's next?
You are a Classification 2 Pivot, and might be a Type IV player. I HIGHLY recommend you get a lesson with a Reinhardt instructor. Chris Larbara would be your best bet!
Well.. in my 3 month of playing, I hit double high C. 710” inner diameter. Without any methods. Just me with myself.
But so very much effort in lips.
Now I am 10 months old and I play MFlll monette, I play A above High C, and my tone is damn flat and good without any books. I am not able to do in the same way the double C. But with a different lip set up I easily do the double high D. But is not flat and as it should be, not with all the lip vibrating..
Yeah.. Just pray to god for help and practice. You ll
Figure it out.
But we re not so special, for lips like Maynard’s are rare.. or Paul Stephens
LOL
You went from a .710 to MF III?
Which is about a .625
@@jppirr1031 exactly .636