To the teacher: you are teaching all the right things, possibly excepting the interpretation of Bach, which is another matter. I’m watching and listening as you demonstrate how to get the sound you want, the finality of a phrase, or the steady change of the line. Yes, it all comes from deep. Yes, you must make the whole line sit on top of the airstream, and not reach for low or high notes. Just play them. But there is one missing bit of information that makes worlds of difference, and can save years of erroneous practice. The mouthpiece exercise, when used properly, addresses all these issues. It’s not the thing that teaches phrasing, but it’s the key that unlocks phrasing so that you can teach it. The mouthpiece exercise goes directly to the parts of the body that you are talking about, but it does so in such a way that you can’t do it without getting everything in the right position, pushing the air from deep below, and keeping the airstream steady while you phrase the music. Use the mouthpiece exercise. It gets past all those things that are hidden in what you’re saying and playing, that the uninitiated student cannot understand. I hear you doing those things, but I already know how to do it, so for me it’s just a matter of listening to what you’re saying and understanding what you mean. For other student, however, he literally cannot see or imagine the motions you are doing to control your airstream. Those at the focal point. The mouthpiece exercise allows you to show the student exactly where those things are in the mouth, tongue and throat, without an x-ray machine. You are both brilliant players, and the teacher is someone I wish I could have studied under back in the 1970s when I was learning. (But there was nobody like that, to my knowledge, then) It would have saved me so much time. But I promise you, the mouthpiece exercise is what taught me everything I know about airstream technique, and it’s the key to what you’re trying to accomplish, even if it seems like a detour. Sincerely, Shooshie
@@jxaumees2064 I don’t know exactly which exercise he refers to, but I do know I also unlocked the gateway to voicing and airstream by using a mouth piece exercise. A very simple one, and it sounds annoying/wasteful to do, but I cannot stress how much it did. Basically what I was taught was to play Remingtons from Concert A on the mouthpiece down as far as you can without changing your embouchure. Essentially concert A is the note your mouthpiece should make if your embouchure is correct. And then you use a piano and play an aflat, match the pitch as best you can without moving your lips too much. Then back to A, then G and so on. Essentially for me, I would do this everyday and always ending up at a point where I couldn’t go lower. And with this, I also did the daily overtone struggle where I sat there making awful noises out of my saxophone hoping I could get the correct pitches. And one day, it just sorta worked. I recall I one day wanted to do my overtone exercise (usually the overtone exercise ended with me failing to get above normal octave key F on a bflat) except that day, I only got awful squeaks. These squeaks were really high notes and I couldn’t really do anything else. It took two days for my ears to realize one of those pitches was an F palm key. Now, had I done proper ear training I would have known that that note was there, but once I did, I tried my best to work my way down. I had out of nowhere, unlocked from the fundamental Bflat tone to the Altissimo D overtone. I believe this was in fact due to the mouthpiece exercise as that improved over time. I do not believe my daily struggling of getting overtones did anything, however it was where I saw the most improvement randomly. few days after, I learned that the instrument can do virtually whatever I wanted if I changed my voicing well enough. The mouthpiece exercise really helped me learn what voicing is. My teacher would always say “overtones can be accessed by making changes in your tongue position and you throat shape” but whenever I did overtones I would flutter my tongue all about and make choking noises and nothing changed. The real value of the mouthpiece exercises was that it helps strengthen all of those muscles in your throat that actually do the work. Me doing my daily struggle of overtones without getting progress was just like a dude going to the gym to lift weights and starting at the biggest set he could think of. The muscles in your throat must be actually trained to use them for this. And thus, the mouthpiece exercise is an actually form of calesthenic exercise, that strengthens your throat muscles to allow you to do more with them. Sorry for writing a whole essay but I hope my past experience can help. But I also am much less professional than someone like Valentin Kovalev. This is just how my journey went.
@@dddddddd9870 I also wanna mention I wasnt trashing overtones as an exercise. I believe they do in fact work. I merely mean that back when all I did was struggle between the first two overtones and nothing more, it was not as useful as the mouthpiece exercise for unlocking voicing. I feel like overtone exercises are great ways to improve your playing, however the mouthpiece exercise is much better at unlocking your voicing. I don’t think that struggling through overtones in a linear way, as they describe it in many online videos is useful. My journey was not linear. I would always try but the octave key bflat overtone refused to come out no matter what I did. Now I can get it out very easily, but I think of it as going down rather than up in my voicing, before I was attempting to make my voicing go higher. This sensation im speaking of probably won’t make sense unless you have unlocked voicing. Perhaps for some people, they think of going up for bflat and it works but my point is mainly that the mouthpiece exercise is an amazing yet simple exercise that definitely changed my playing for good.
Teacher is a great player, but abusive. There is no need for that treatment of the student. Invading his personal space and then slapping his face is outrageous.
Учите английский, товарищи музыканты, не позорьтесь. Я выучил, Жан-Дени Миша выучил (для особо умных поясню, английский не родной язык ему), некоторые мои друзья музыканты как минимум по два иностранных знают (англ. и немецкий) и ничего, не рассыпались. Как вы собираетесь обмениваться опытом или перенимать опыт музыкантов мирового уровня без знания английского? Переводчик - молодец, но некоторые вещи он просто не может передать из-за "сиеминутности" перевода.
ユーモアがありつつも素晴らしい教えだと思います！
ソロで表現の幅は、ブレスの支えの位置を腹筋よりもさらに下に意識して下半身でやる感じですかね。
時には割れそうな音の要素を混ぜることでよりスケールの大きいフレーズにできるんですね！
フレーズについても、音楽の本質的なところに迫った内容だと思います！
そして、マスターはとんでもない身体能力の高さだと思いました。
To the teacher: you are teaching all the right things, possibly excepting the interpretation of Bach, which is another matter. I’m watching and listening as you demonstrate how to get the sound you want, the finality of a phrase, or the steady change of the line. Yes, it all comes from deep. Yes, you must make the whole line sit on top of the airstream, and not reach for low or high notes. Just play them. But there is one missing bit of information that makes worlds of difference, and can save years of erroneous practice. The mouthpiece exercise, when used properly, addresses all these issues. It’s not the thing that teaches phrasing, but it’s the key that unlocks phrasing so that you can teach it. The mouthpiece exercise goes directly to the parts of the body that you are talking about, but it does so in such a way that you can’t do it without getting everything in the right position, pushing the air from deep below, and keeping the airstream steady while you phrase the music.
Use the mouthpiece exercise. It gets past all those things that are hidden in what you’re saying and playing, that the uninitiated student cannot understand. I hear you doing those things, but I already know how to do it, so for me it’s just a matter of listening to what you’re saying and understanding what you mean. For other student, however, he literally cannot see or imagine the motions you are doing to control your airstream. Those at the focal point. The mouthpiece exercise allows you to show the student exactly where those things are in the mouth, tongue and throat, without an x-ray machine. You are both brilliant players, and the teacher is someone I wish I could have studied under back in the 1970s when I was learning. (But there was nobody like that, to my knowledge, then) It would have saved me so much time. But I promise you, the mouthpiece exercise is what taught me everything I know about airstream technique, and it’s the key to what you’re trying to accomplish, even if it seems like a detour.
Sincerely,
Shooshie
what is the mouthpiece exercise
what is mouthpiece exercise?
@@jxaumees2064 I don’t know exactly which exercise he refers to, but I do know I also unlocked the gateway to voicing and airstream by using a mouth piece exercise. A very simple one, and it sounds annoying/wasteful to do, but I cannot stress how much it did. Basically what I was taught was to play Remingtons from Concert A on the mouthpiece down as far as you can without changing your embouchure. Essentially concert A is the note your mouthpiece should make if your embouchure is correct. And then you use a piano and play an aflat, match the pitch as best you can without moving your lips too much. Then back to A, then G and so on. Essentially for me, I would do this everyday and always ending up at a point where I couldn’t go lower. And with this, I also did the daily overtone struggle where I sat there making awful noises out of my saxophone hoping I could get the correct pitches. And one day, it just sorta worked. I recall I one day wanted to do my overtone exercise (usually the overtone exercise ended with me failing to get above normal octave key F on a bflat) except that day, I only got awful squeaks. These squeaks were really high notes and I couldn’t really do anything else. It took two days for my ears to realize one of those pitches was an F palm key. Now, had I done proper ear training I would have known that that note was there, but once I did, I tried my best to work my way down. I had out of nowhere, unlocked from the fundamental Bflat tone to the Altissimo D overtone. I believe this was in fact due to the mouthpiece exercise as that improved over time. I do not believe my daily struggling of getting overtones did anything, however it was where I saw the most improvement randomly. few days after, I learned that the instrument can do virtually whatever I wanted if I changed my voicing well enough. The mouthpiece exercise really helped me learn what voicing is. My teacher would always say “overtones can be accessed by making changes in your tongue position and you throat shape” but whenever I did overtones I would flutter my tongue all about and make choking noises and nothing changed. The real value of the mouthpiece exercises was that it helps strengthen all of those muscles in your throat that actually do the work. Me doing my daily struggle of overtones without getting progress was just like a dude going to the gym to lift weights and starting at the biggest set he could think of. The muscles in your throat must be actually trained to use them for this. And thus, the mouthpiece exercise is an actually form of calesthenic exercise, that strengthens your throat muscles to allow you to do more with them. Sorry for writing a whole essay but I hope my past experience can help. But I also am much less professional than someone like Valentin Kovalev. This is just how my journey went.
@@dddddddd9870 I also wanna mention I wasnt trashing overtones as an exercise. I believe they do in fact work. I merely mean that back when all I did was struggle between the first two overtones and nothing more, it was not as useful as the mouthpiece exercise for unlocking voicing. I feel like overtone exercises are great ways to improve your playing, however the mouthpiece exercise is much better at unlocking your voicing. I don’t think that struggling through overtones in a linear way, as they describe it in many online videos is useful. My journey was not linear. I would always try but the octave key bflat overtone refused to come out no matter what I did. Now I can get it out very easily, but I think of it as going down rather than up in my voicing, before I was attempting to make my voicing go higher. This sensation im speaking of probably won’t make sense unless you have unlocked voicing. Perhaps for some people, they think of going up for bflat and it works but my point is mainly that the mouthpiece exercise is an amazing yet simple exercise that definitely changed my playing for good.
what kind of book that teaches something like this...plese inform.. thx
Языки знать полезно, но предъявлять что-то в таком тоне - не комильфо.
Это не тон , это ультиматум к изучению
Привет какое мундштук играешь и фирма саксофон?
I think that Kovalev use Selmer in all, sometimes use Vandoren in mouthpiece.
Teacher is a great player, but abusive. There is no need for that treatment of the student. Invading his personal space and then slapping his face is outrageous.
Учите английский, товарищи музыканты, не позорьтесь. Я выучил, Жан-Дени Миша выучил (для особо умных поясню, английский не родной язык ему), некоторые мои друзья музыканты как минимум по два иностранных знают (англ. и немецкий) и ничего, не рассыпались. Как вы собираетесь обмениваться опытом или перенимать опыт музыкантов мирового уровня без знания английского? Переводчик - молодец, но некоторые вещи он просто не может передать из-за "сиеминутности" перевода.
Думаю и Жану Дени тоже пора начать изучать китайский 😃
Здравствуйте, не могли бы вы назвать произведение которое исполняет парень.
Bach Violin Sonata BWV 1001
23:11
Мне кажется француз просто завидует)
Hello, does someone know which piece is it ?
Bach Violin Sonata BWV 1001
It’s the final movement (if memory serves) of the Sonata No. 1 for Solo Violin. (From the Partitas and Sonatas for Solo Violin)
Do you have Mai Class? By the same teacher
Этот мастер когда приедет в Россию пусть выучит русский язык
Совсем дурачок?
Почему маэстро без обуви?
Он всегда без обуви)Это его стиль
Проветривает носки
Эфектный штрих Маэстро(26+)..
Зато плодотворный)
C’est quoi le problème aujourd’hui ?
Il n’y a que la performance respiratoire et la vitesse !
Ou est l’âme ,le vibrato ?
hahaha oui oui
At the begining the problem was clearly his relying on effect and exaggeration and a lack of simple elegance.Technically brilliant but...
Сам с жутким акцентом разговаривает, а ещё что-то там предъявляет насчет языка
Хоспади, как много идиотов в России-матушке.
@@rueazy сам дурак 😎
You need to speak English if you want to be a professional musician internationally. Period.
Это неважно, в иваново и ростове тоже акцент
Так английский не его родной. Интересно как ты говоришь на английском со своим рязанским акцентом?😛
Содержание?
Чик-Чирик(( каля- маля ((
Ну парень то хорош?)