TromboneChat

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musicofnote wrote: ↑Sun Jun 23, 2024 1:33 am

Doug Elliott wrote: ↑Sun Jun 23, 2024 12:09 am This is from my perspective, not Markey's:
It's sort of like that but it helps tremendously to understand how your particular embouchure works, as there are different embouchure types that need different things. Shifting becomes necessary when you're not doing the right things that your chops need.

So if I understand you, shifting should NEVER be necessary if you're playing correctly.
Or ...
Do you mean, that some embouchures do actually NEED shifting in order that the chops get what they need?

I was watching Doc Severinson and Arturo Sandoval the other day and it's remarkable how well they play in that they both shift quite a bit. Adam Rappa too. And interesting how they all shift in the same manner to acheive the same things. So either they're compensating through shifting for otherwise not supplying what their embouchures need, or their embouchures need shifting, so they ... shift.

Doc, Arturo, and Adam do not shift in the way that I use that term. However I haven't watched them recently. I mean actually moving the mouthiece to a different position on the lips, usually with a simultaneous jaw position change. Like falling off a cliff.

If someone isn't pivoting or moving their embouchure, they must just be holding a long tone on a single pitch.

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According to Bradley shifting is moving the mouthpiece to a new place on the lips. But moving the jaw forward for low tones is not shifting say Bradley. Actually most brass players do that, it is much more noticeble on basstrombone, but you can see it on trumpeters to. There are many players that do shift though, (like Georg Roberts and many others) like said above usually from pedal G - F when playing very loud. The so called high embouchure. (usually with a simultaneous jaw position change. Like falling off a cliff.) I don´t know about that, it does not sound like something that would work? What does that mean?

harrisonreed wrote: ↑Sun Jun 23, 2024 10:20 am If someone isn't pivoting or moving their embouchure, they must just be holding a long tone on a single pitch.

Yes! Something has to move!

But it doesn't have to move a mile (1.6km) for a half step difference. If if does, you weren't where you needed to be long before the shift.
Make it constantly variable, not a 2 speed transmission going from 1st to overdrive.

Doug Elliott wrote: ↑Sun Jun 23, 2024 11:09 am
Make it constantly variable, not a 2 speed transmission.

Which is all that Markey is talking about in his videos.

Burgerbob wrote: ↑Sun Jun 23, 2024 11:10 am

Doug Elliott wrote: ↑Sun Jun 23, 2024 11:09 am
Make it constantly variable, not a 2 speed transmission.

Which is all that Markey is talking about in his videos.

Yes... but it could be explained better.

Extreme interesting chat and opinions. As an amateur I have to admit that I struggle with constancy on all the repetations. I am now on video no. 2 and can feel that my very low range from video 1 although this is not even in the trigger range.
I will go on practicing and am shure it will help a lot.
Many regards from Germany

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I've been doing the Markey routines and finding them helpful, i.e. I think my low register is improving. I'm not sure that I'm getting much out of looking in the mirror because I'm not sure what part of my face to be looking at. Much of Markey's face moves when he breathes at starts notes, primarily above and outside his corners, i.e. cheeks, etc. My face does the same. I think I'm keeping the part of my face below the corners still (I guess that's the important part) but can only adjust the mirror to see the right side of my face -- my hand blocks the left side. I think I get as much or maybe even more benefit putting the mirror away and simply paying attention to how my face feels.

I don't understand why Markey thinks the 4 videos are strictly progressive, i.e. suggesting only doing one set until proficient and then moving on to the next (and presumably not returning to earlier ones). To me they seem more like useful routines that can be repeated. For instance, the slurs of thirds, fourths, and fifths in video #3 seem useful even though I can't get my low trigger glisses in video #2 to fully sound the way I want them to yet. I've been rotating through the routines in videos 1, 2, and 3.

The patterns of the exercises seem completely suitable to be extended down into the pedal range.

I’m glad to have the videos and not have to wade through all this verbiage.

"falling off a cliff" ? I really do not understand what that means?

Marks videos are super. Right on.

dbwhitaker wrote: ↑Sun Jun 23, 2024 4:01 pm I don't understand why Markey thinks the 4 videos are strictly progressive, i.e. suggesting only doing one set until proficient and then moving on to the next (and presumably not returning to earlier ones). To me they seem more like useful routines that can be repeated. For instance, the slurs of thirds, fourths, and fifths in video #3 seem useful even though I can't get my low trigger glisses in video #2 to fully sound the way I want them to yet. I've been rotating through the routines in videos 1, 2, and 3.

The patterns of the exercises seem completely suitable to be extended down into the pedal range.

I've been doing some of each exercise every day too. If they were to be progressive it would be a long time before I got past video #2. I'm finding all of them to be helpful.

I've been extending some of these exercises into the pedal register too.

Having reached week 4, now what? Continue playing wk 4 indefinitely? Cycle back through wks 1-4? Play wk 1 today, maybe 4 tomorrow, wk 3 on Friday, depending on what seems effective (more glisses during weeks 1 and 2)?

I play one video a day, cycling through the 4.

I’ve been continuing to do these on my bass and tenor trombones as part of my daily routine. I played an outdoor concert a few weeks ago that went remarkably well in terms of chops, so maybe they’re making a difference.

What I’ve recently taken from these videos is what I think is the “process”, ie repeat until you have a decent sample size and assess: are you getting what you want? If yes, good. If no, why not? Etc. Then apply said approach to other aspects of your practicing.

Yup... these have been huge for me. Really solidified some good habits.