Where is the third part of this interview? Part 1 stops abruptly fortunately part 2 picked up with that left off but it also is cut quite short. Are you going to post part 3? We need to hear the conclusion of this Rinehart stuff as presented by Louis
Louis mis-spoke slightly when he said that "all" of Reinhardt's routines start with the tongue. Some of them start with the tongue but certainly not all. Doc's "Embouchure Compression Routine" and his "Flip Glissando Routine" are not tongued at all, and frankly, those are Doc's premier upper register development routines. Reinhardt's "Embouchure Track Routine" involves tonguing first, then slurring the various variations of arpeggios. In his "Warmup #57" it has elements of the Embouchure Track Routine combined with the "Spider Web" and "Range Extension Routine." The Range Extension Routine is playing chromatic fourths with heavy crescendo and a fermata on the end, played first slurred, then legato tongued, and finally, marcato tongued. What Louis didn't mention is Reinhardt's "Putty Ball Routine." This is a great, and very under-utilized exercise that helps to keep that aperture centered and focused. The Putty Ball Routine is described in the Encyclopedia. The tongued part of the embouchure track routine should start out in a similar manner to the Putty Ball Routine but with the addition of a crescendo. Everyone should practice the Putty Ball Routine regularly in my opinion.
I'm definitely going to look up the Putty Ball routine. We've got another interview coming up with a 10 year Doc student from the 70's who explains things more and clears up some misconceptions, at least some that I had.
Good, good stuff here. Discovery moments and light bulb moments are exactly right. The whole mechanism has to function together correctly to reach, say above the double g which is where I believe greater control and discovery is needed in the embochure and probably actually the aperture itself.
Good stuff. Nothing’s worse than the guys who post videos here-some of them super strong players-who say “this is how you do it”. And they don’t agree on anything-of course-because what works for them doesn’t work for everybody, any more than thinking everybody should play the same horn or mouthpiece.
Great guys thankyou!
Where is the third part of this interview? Part 1 stops abruptly fortunately part 2 picked up with that left off but it also is cut quite short. Are you going to post part 3? We need to hear the conclusion of this Rinehart stuff as presented by Louis
This part was cut off 0 they had the full thing on their other podcast title (same interview): ruclips.net/video/_E5K-ASGPDY/видео.html
Louis mis-spoke slightly when he said that "all" of Reinhardt's routines start with the tongue. Some of them start with the tongue but certainly not all. Doc's "Embouchure Compression Routine" and his "Flip Glissando Routine" are not tongued at all, and frankly, those are Doc's premier upper register development routines. Reinhardt's "Embouchure Track Routine" involves tonguing first, then slurring the various variations of arpeggios. In his "Warmup #57" it has elements of the Embouchure Track Routine combined with the "Spider Web" and "Range Extension Routine." The Range Extension Routine is playing chromatic fourths with heavy crescendo and a fermata on the end, played first slurred, then legato tongued, and finally, marcato tongued. What Louis didn't mention is Reinhardt's "Putty Ball Routine." This is a great, and very under-utilized exercise that helps to keep that aperture centered and focused. The Putty Ball Routine is described in the Encyclopedia. The tongued part of the embouchure track routine should start out in a similar manner to the Putty Ball Routine but with the addition of a crescendo. Everyone should practice the Putty Ball Routine regularly in my opinion.
I'm definitely going to look up the Putty Ball routine. We've got another interview coming up with a 10 year Doc student from the 70's who explains things more and clears up some misconceptions, at least some that I had.
Good, good stuff here. Discovery moments and light bulb moments are exactly right. The whole mechanism has to function together correctly to reach, say above the double g which is where I believe greater control and discovery is needed in the embochure and probably actually the aperture itself.
Good stuff. Nothing’s worse than the guys who post videos here-some of them super strong players-who say “this is how you do it”. And they don’t agree on anything-of course-because what works for them doesn’t work for everybody, any more than thinking everybody should play the same horn or mouthpiece.
Amen Jok! Glad you're here with us.