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[RichWilley]

I have an announcement:

From today forward, only the corrected version of this book is available.

All the numerical metronome markings have been replaced with the standard Italian tempo "suggestions," i.e. Largo, Allegro, Lento, Andante, etc.

There is also a note on the first page of this book (the page with the Pivot Stabilizer) that says:

Note: this drill is very strenuous. Many students skip the Stabilizer at first, adding it weeks or months later as embouchure development permits.

This allows the student to treat the Stabilizer as optional rather than mandatory.

The other corrections (including the many errors that have been mentioned in this thread) have also been made, and the "new, improved" version of this book is available at this website and we've got plenty to go around, now.

[jmoore88]

Approximately how long does it take to work through a "day" in this book?

[Dennis K.]

about 45 minutes, for me.

[BFW]

I got a copy recently.  Great stuff!

In "The Trio of Daily Calisthenics," the section "The Pencil Trick" contains this sentence:

Place either end of the pencil and strive to support its weight in as near a forward horizontal position as possible.

Place either end where? 

I know it's supposed to go between the lips, but I am unsure how the jaw should be configured for this exercise.  Avoid using the teeth and jaw?  Avoid using the teeth, but it's OK to move the jaw forward?

[Paul Martin]

Given how explicit the instructions are otherwise, I simply assumed that, as a compression exercise, the point was to hold the pencil with the lips only, and that the jaw placement was immaterial; the jaw gets its workout from the 2nd daily calisthenic exercise.

[Doug Elliott]

It's hard to explain completely how to do the pencil trick effectively, but here are my instructions:

Wet your lips thoroughly.
Put the pencil end (the flat, unsharpened end) against your top front teeth - the front surface of your TOP teeth, not the biting surface. Then grip it with WET lips, as if forming your embouchure but pinching, primarily UP with your bottom lip. But keep your chin down and flat- no bunching. Bunching your chin is cheating, using chin muscles instead of lip muscles. With your lips, try to pull the pencil hard against your top teeth, which will also keep it horizontal.

 Holding it onto the front of your top teeth means the bottom lip has to reach up and do more of the work. Be sure you're not bunching your chin.

 You'll find that, following these instrutions completely, with it wet, it's almost impossible to hold it at all. You're only supposed to TRY, not necessarily be sucessful at first. If it's easy you're probably doing it wrong.

[Paul Martin]

I'm not sure I'd know if I were bunching my chin or not, should it look just the same as it does at rest?

[Doug Elliott]

Sorry, I thought everybody knew what "bunching the chin" meant.  There are usually three possible states of the chin muscles:  resting position, pointed (pulled down), or bunched (pulled up, looks wrinkled like a peach pit).  For most brass players, a bunched chin is NOT the correct way to play.  It uses the wrong muscles.

[RichWilley]

I got a copy recently.  Great stuff!

In "The Trio of Daily Calisthenics," the section "The Pencil Trick" contains this sentence:

Place either end of the pencil and strive to support its weight in as near a forward horizontal position as possible.

Place either end where? 

I know it's supposed to go between the lips, but I am unsure how the jaw should be configured for this exercise.  Avoid using the teeth and jaw?  Avoid using the teeth, but it's OK to move the jaw forward?

Wow, I guess the proofreading job never ends!

Here is how that sentence (actually two sentences) reads on my original Reinhardt handout:

Place either end of the pencil against the upper part of the upper teeth. Fold your saturated embouchure around the pencil and strive to support its weight in as near a forward horizontal position as possible.


I can't believe Dave and I both missed that! Thank you so much for pointing that out!!! I will make an errata sheet and send it out right away.

Your check is in the mail.   

[lbhearn]

Here is an error I found in the book. 

on page 2, exercise 2., measure 8, I believe that E should be an Eflat. 


I do realize that is not a very significant mistake, but I figure you would still want to know about it.

[RichWilley]

Here is an error I found in the book. 

on page 2, exercise 2., measure 8, I believe that E should be an Eflat. 


I do realize that is not a very significant mistake, but I figure you would still want to know about it.

Actually, it's in the key signature. The flat before the E in the previous measure was a courtesy accidental. Personally, I prefer no courtesy accidentals for this reason, but many people prefer to have them there.

 

[lbhearn]

Actually, it's in the key signature. The flat before the E in the previous measure was a courtesy accidental. Personally, I prefer no courtesy accidentals for this reason, but many people prefer to have them there.

 

Ha.  I guess that shows how attentive to detail I am.

[svenlarsson]

I hate courtesy accidentals.
When subbing and reading avista in a bad light it very often make you play the wrong note.
Like if the key is Ab major and some stupid copyist "help" with a courtesy "b" for the Eb.
Of course I read it as an sign of canceling the "b"* and play an E.
I usually tip ex away courtesy accidentals in my material.

(*In Swedish "återställnings tecken", what in English?)

[WaltTrombone]

(*In Swedish "återställnings tecken", what in English?)

Do you mean a "natural," Svenne?

[svenlarsson]

Yes of course!  
Thankyou Walt!

[Hornman805]

I've just ordered my copy! Really looking forward to working with it. Thanks for putting a book like this together. AND thanks to folks like DE for your input.

Later,
   Michael

[Steve]

I'll be doing day six today. So far I'm really liking it simply because it changes from day to day.
Please forgive me if this has been answered already, but I looked and didn't see it...
I'm wondering what the reasoning is for the instruction never to play  right after eating?

[jmoore88]

Along those lines sort of...  injury could result from playing with your legs crossed?

[The Sheriff]

I just ordered a copy and am looking forward to playing through it.

[RichWilley]

I'll be doing day six today. So far I'm really liking it simply because it changes from day to day.
Please forgive me if this has been answered already, but I looked and didn't see it...
I'm wondering what the reasoning is for the instruction never to play  right after eating?

He always followed that with: "Practice without concentration is just a little better than no practice at all." I think he was trying to discourage us from practicing at a time when we might get a little groggy or not feel 100% energetic about practicing, but I don't know for sure. He did tell us to always drink two glasses of water before commencing our "daily blowing chores." That has saved me many times . . . get on a gig, and nothing's happening, and remember to drink water, and suddenly everything works again. Hydration is so important for us brass players.

Along those lines sort of...  injury could result from playing with your legs crossed?

If we're playing a demanding book and try to do it with our legs crossed . . . well, that's not good posture, for one thing. If we have to bark out a bunch of high F's and long, demanding lines that sail way up there, it seems like common sense that we need to have both feet firmly planted on the floor and sit up straight. Maybe Reinhardt knew of someone who had sustained injuries while playing cross-legged? I don't know, but I do know that he never steered me wrong.