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61
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Practice Break / Chit-Chat / Re: Pet Peeves
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on: Apr 07, 2013, 07:16PM
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I have a pet peeve. At least, it's today's pet peeve. I hate it when you have one thing scheduled FAR in advance and something else comes up right smack in the middle of it and screws everything up.  Like the nice gig that my band got that's during the ITF in June... I'm having a sub for myself on my own gig. |
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64
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Teaching & Learning / Beginners and Returning Trombonists / Re: Possible Double Buzz?
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on: Apr 07, 2013, 11:30AM
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I could make a long list of what might be happening and possible corrections, but it would be a lot better to see what you're doing and make the right suggestions for your particular case. Upstream problems can be tricky and everybody's different.
My guess is that you're not firm enough while you are placing the mouthpiece. And too much top lip pressure / not enough bottom lip pressure. Those two are by far the most common upstream issues.
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65
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Teaching & Learning / Practice Room / Re: Endurance and High Range
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on: Apr 07, 2013, 01:58AM
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Go back to the 6-1/2AL for two weeks and report back.
I would really need to see you play, but it sounds to me like you have the embouchure type that needs smaller mouthpieces, and if that's correct the Wick 4AL is entirely too big for you and you will never adjust to it. Everything you're saying points in that direction.
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66
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Horns, Gear, and Equipment / Mouthpieces / Re: Old Conn Leadpipe/Mouthpiece Size
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on: Apr 06, 2013, 03:16PM
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A lot of old horns - Conn, King, Olds - have smaller leadpipes like that. It's no problem for me to put the correct taper on any of my shanks and I don't charge extra for that. Otherwise, you can have any standard small shank mouthpiece turned down about .010 or .015" to fit it.
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70
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Horns, Gear, and Equipment / Mouthpieces / Re: MP question for a King 5B with the old taper
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on: Apr 03, 2013, 07:23PM
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There are no commercial mouthpieces made with the right taper for old King large shanks. It's not the same taper as the old Conns. I don't know what they had in mind... Some old King and Benge mouthpieces had the right taper, but others were standrd size.
For my mouthpieces I can put that taper on any shank. It seems to work well going in 1 inch, but it could probably go in a little farther too.
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73
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Horns, Gear, and Equipment / Repairs, Modifications and Maintenance / Re: how to open the sound of a Getzen 3047CS
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on: Apr 03, 2013, 12:41AM
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I own a Getzen 3047CS and I have always had some response/openness issues with it. I always thought it was my lack of playing tenor (I play bass trombone mostly). My current steup is:
yellow bell
T2 Kitzman silver lead pipe
rosebrass SR tuning slide
could having the lead pipe/tuning slide combination cause a stuffiness with my horn?
Your profile says you play a Griego 4.5 on tenor. Since you use a very large bass piece (.75) it is likely that the 4.5 is on the small side for you, and that could be the source of stuffiness as long as you're doubling. You'd probably get used to it if you only played tenor, and it wouldn't feel as stuffy. Try something with a bigger rim inside diameter. |
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74
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Teaching & Learning / Practice Room / Re: How do I break a bad tongue position habit?
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on: Apr 02, 2013, 01:36PM
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Become aware of where your tongue is when you're holding a note, and experiment with different positions, still while just holding a note, especially where the tip is as Tim suggested.
Experiment with slowly articulating using a D with the tip in different places, and also using a G or K. Go back and forth between playing and singing with the same note and articulation. Keeop it very legato and with an open continuous sound.
Keep it simple until you figure out what works.
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76
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Teaching & Learning / Practice Room / Re: Embouchure Tips
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on: Mar 30, 2013, 01:45AM
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This is why it's nearly impossible to write about playing mechanics... it is inevitable that someone will misunderstand any or all of what you say. "In person" is really the only way.
I would be happy to have you come to DC for a lesson, since I don't know anytime that I would be in your area.
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77
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Teaching & Learning / Practice Room / Re: Embouchure Tips
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on: Mar 29, 2013, 01:55PM
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This clarification has the opposite effect for me. Now I'm confused.
I have been under the impression that a good exercise is to curl in the bottom lip, let the top lip overlap it and buzz a middle Bb to start. That would be the rough-buzz. Once it is accomplished with a steady, clean buzz - then start working upwards in the same fashion. The importance isn't how far up one can go. The importance is making gains on what one can do.
My understanding is also that after the rough-buzzing, then fine-buzzing is a further aid to building upper register strength and stamina. In fine-buzzing, both lips are curled inwards, the bottom lip more so. In doing this exercise, I am making both lips thinned out and drawn in. Both kinds of buzzing involve firm corners and a frown-like embouchure.
So, are you saying to abandon the first kind of buzzing I described above (rough-buzzing) and go exclusively with the second kind (fine-buzzing) and start on middle Bb with that? When I do fine-buzzing, I can't start out as low as middle Bb. Fine-buzzing is like kicking it up to a whole 'nuther level and I automatically start out MUCH higher than middle Bb.
Thanks,
Geezer
"In fine-buzzing, both lips are curled inwards" No. Curling the top lip inward is counterproductive. In free-buzzing, the top lip needs to be the primary vibrator, and needs to be free to do that, against a much firmer bottom lip. That formation is what produces a clean sounding buzz and clean tone on the trombone. The "rough buzz" occurs when the bottom lip is flipped out and buzzing more equally with the top. That formation is also counterproductive and produces a raspy or blatty sound on the horn. |
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78
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Teaching & Learning / Practice Room / Re: Embouchure Tips
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on: Mar 29, 2013, 09:27AM
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That's a good description of the various ways that people buzz. Keep in mind that there can be infinite variations between the "fine buzz" and the "compromise," especially as you get stronger and better at it, and can adjust your jaw position while keeping the buzz under control. As far as I'm concerned, the "rough buzz" is NOT a valid way to buzz for trombone playing. That is exactly why Reinhardt advised to never buzz below a middle F. Buzzing that way starts to involve the wrong muscles and is counterproductive. When you speak of using the "fine buzz" on the horn: "but that setting becomes less useful below around   ; small, weak sound prone to airballs," I'm going to guess that your jaw position isn't right for playing, and the "compromise buzz" is closer to your ideal jaw position. But I'd have to see it. In any case, thanks for posting this... it may help a lot of people understand the differences between just making a buzzing sound with their lips and buzzing in a productive way. |
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79
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Horns, Gear, and Equipment / Mouthpieces / Re: what mouthpeices work in olds
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on: Mar 28, 2013, 03:50PM
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The backbore of the mouthpiece and the leadpipe of the horn are fairly critical to how the horn responds overall. When the fit between backbore and leadpipe is too far away from the ideal, it won't play right, maybe flat, maybe partials not lining up right, probably stuffy.
Some Olds horns have standard receivers, most are smaller than standard and most modern mouthpieces can be a problem. If you're interested in one of my mouthpieces, I can make the shank to fit an Olds.
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