Re: Re: Re: Re: Re: Re: What if/Why...


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Posted by Klaus on August 03, 2001 at 06:53:24:

In Reply to: Re: Re: Re: Re: Re: What if/Why... posted by Joe S. on August 02, 2001 at 23:11:14:

This posting by Joe S. might very well be the most important to me personally through a very long period because it has made me rethink what I am doing in brass playing.

What Joe calls "false" resistance, might very well be the diaphragm resistance, that I have been taught in singing lessons. And even more in recorder playing.

When I learned to control the airstream by means of the counteraction of the outer belly muscles and the diaphragm. And to combine this with a fully relaxed/open throat area and a very precise control of the mouth cavity (through the use of imagined vowels), then my brass sound also got where I wanted it to be.

My technique certainly is different, and less developed, than Joe’s. But in some ways it is very efficient in so far, that I can play longer phrases, than my lung capacity should allow for.

In other ways it is ineffecient because the strain on the torso musculature consumes a lot of energy.

Joe remade a York Eb sousa into a Helicon. Very beautiful, but nothing for me, as I could see, that the custom leadpipe was very resistant (a notion confirmed by Joe).

I see resistance as an obstacle to controlled playing in my way. I will allow myself to interprete Joe and say, that he sees resistance as a measure guarding him against exhaustion. He leans himself against the resistance.

Differences in technique call for differences in equipment.

When it come to the term of "stiff", then I apply it to brasses, that make lip trills hurt my lips, because of too much slotting. The same instruments tend to inhibit smoothness of wide lip glissades (no half valving).

Klaus


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