tag:blogger.com,1999:blog-53010795260417724882024-03-12T18:28:19.822-07:00Brass Pedagogy and Performance PracticesThis site is dedicated to the memory of Adolph Herseth, Edward Kleinhammer, and Arnold Jacobs who have profoundly influenced my work and life with their artistry, integrity, and musical leadership.. These concepts are published to fulfill my promise to "Jake" a few months before his death in 1998. "Your work will live on through your students. "Harvey Phillips, "Arnold Jacobs is our national treasure."Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.comBlogger31125tag:blogger.com,1999:blog-5301079526041772488.post-19040154297896249642021-06-05T08:52:00.025-07:002022-02-08T18:29:10.300-08:00SING BUZZ PLAY Transcending the mindless brass tube in your hands with the musical sound you hear in your mind.<i><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Pd3Kh1zPjh4/YL_gKsxplDI/AAAAAAAAAI8/lbT2jb7v_CMbQXWsq1xz_iI1k4jFiZI9ACLcBGAsYHQ/s300/mountain.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" src="https://1.bp.blogspot.com/-Pd3Kh1zPjh4/YL_gKsxplDI/AAAAAAAAAI8/lbT2jb7v_CMbQXWsq1xz_iI1k4jFiZI9ACLcBGAsYHQ/s0/mountain.jpg" /></a></div><br /><b>THE MUSIC FLOWS POWERFULLY AND FREELY LIKE A RIVER FROM THE MOUNTAINS OF THE MIND TO THE AUDIENCE OF THE SEA. THE INSTRUMENT IS ONLY A MINDLESS BRASS TUBE BETWEEN THE TWO. THE MUSIC TELLS US EVERYTHING WE NEED TO KNOW.</b></i><div><b><i><br /></i></b></div><div><b><i>IT IS NOTHING MORE THAN MINDFUL MOUTHPIECE PLAYING (SINGING AND BUZZING) INTO A MINDLESS TUBE. THE MOUTHPIECE IS THE REAL INSTRUMENT (MIRROR) THAT REFLECTS THE MUSICAL AWARENESS OF THE CONSCIOUS MIND.</i></b></div><div><b><i>THE TUBE IS ONLY A RECEIVER OF SOUND. THAT IS WHY THE MOUTHPIECE IS INSERTED INTO THE RECIEVER OF THE LEADPIPE. THE TUBE ITSELF CANNOT BE A SOURCE OF SOUND. </i></b></div><div><b><i><u><br /></u></i></b></div><div><b><u>CONSCIOUS MUSICAL MIND</u><i>, Imagination</i></b></div><div><u style="font-weight: bold;">MOUTHPIECE</u><i><b>, Lips function precisely like vocal cords that reflect musical awareness or speech. </b></i></div><div><u style="font-weight: bold;">TUBE</u><i><b>, Functions as receiver of vibrations that must be acoustically tune to the frequency response </b></i><i><b>of the air column within.</b> </i></div><div><b><u>BELL</u><i>, Amplifies and projects the vibrations within the tube to the...</i></b></div><div><b><u>AUDIENCE</u><i>, The ultimate receiver of the auditory awareness of the conscious mind.</i></b></div><div><b><br /></b></div><div><b>ADOLPH HERSETH, (BUD)</b></div><div><b><i>"Transfer the singing and buzzing to the trumpet."</i></b></div><div><b><br /></b></div><div><b>ARNOLD JACOBS, (JAKE)</b></div><div><b><i>It's just like speech.</i></b></div><div><b><i><br /></i></b></div><div><b><i>THE SUBCONSCIOUS BRAIN WILL RESPOND FAITHFULLY AND POWERFULLY TO THE CONSCIOUS AWARENESS IF THE ANALYTICAL MIND DOES NOT INTERFER BY REFLECTING SELF AWARENESS AND MECHANICS INSTEAD OF SOUND. </i></b></div><div><b><i>SOUND MOTIVATES FUNCTION. FUNCTION NEVER MOTIVATES SOUND. </i></b></div><div><b><i><br /></i></b></div><div><b><i>THEIR COMMITTMENT TO MUSICAL AWARENESS IS WHAT ALLOWS KHATIA AND SERGIO TO ACHIVE THEIR GREAT LEVEL OF EXECUTION. THE METAL AND WOOD IN THEIR HANDS MEANS VERY LITTLE.</i></b></div><div><b><i><br /></i></b></div><div><b><i>SERGIO CAROLINO</i></b></div><div><b><i>MIND VS. METAL (WOOD, PLASTIC, PAPER, CARDBOARD...)<br /></i></b><div><br /></div><div><b><u>WE LIVE IN TWO DIFFERENT WORLDS. </u></b></div><div><b><br /></b></div><div><b>THE EXTERNAL UNIVERSE OUTSIDE OUR BODIES AND THE INTERNAL UNIVERSE WITHIN OUR BODIES. WE CAN HAVE VIVID MINDFUL AWARENESS OF THE EXTERNAL WORLD BUT THE MIND'S AWARENESS OF THE INTERNAL WORLD IS SOMEWHAT LIMITED AND VAGUE. THE POWERFUL SUBCONSCIOUS BRAIN CAN HAVE A VIVID AWARENESS OF BOTH WORLDS.</b></div><div><b><br /></b></div><div><b>SENSORY AWARENESS IS INPUT OF INFORMATION FROM THE EXTERNAL WORLD TO THE BRAIN VIA THE FIVE SENSES; SIGHT, SOUND, FEEL, SMELL, TASTE. THE INFORMATION FROM THE SENSES IS PRIORITIZED BY THE BRAIN IN THAT ORDER.</b></div><div><b><i><br /></i></b></div><div>Unfortunately we all eventually learn that the information received from the senses diminishes with age and the brain's ability to process the information diminishes as well. <b>SENSORY AWARENESS</b> is both a function of conscious mindfulness and subconscious brain reactiveness. </div><div><br /></div><div><b>THE CONSCIOUS INTELLECTUAL MIND vs. THE SUBCONSCIOUS REACTIVE BRAIN</b></div><div><b><br /></b></div><div>Human intellect is a powerful force in the universe, but it's weak and ineffective if there isn't a <b><i>symbiotic</i></b> relationship between the <b>MIND</b> and <b>BRAIN</b>. The vivid imagination of the <b>Mind</b> is a powerful gateway of influence for the reactive function of the<b> Brain. </b>A powerful reactive brain exists in all creatures of the animal world and insects. All brains maintains internal life function and motivate incredible levels of external motor skill. A flee can fly with almost no intellectual capacity whatsoever. Could it fly if a high level of conscious intellect was required to motivate the complex motor function required? <b>Absolutely not! The insect's lack of intellectual capacity is what gives it the freedom to fly or live! </b><b>The incredibly complex motor skills required for flight or life support are far beyond the intellectual capacity of any mind. </b></div><div><b><br /></b></div><div><i><b>THE MIND VISUALIZES A PICTURE OF AN ACCOMPLISHMENT BUT THE BRAIN PAINTS IT ON THE CANVAS. </b><b>WE MUST NOT REVERSE THE ROLES BECAUSE THAT WILL CAUSE A PARALYZING AND UNCOMFORTABLE ANTAGONISTIC RELATIONSHIP BETWEEN THE TWO.</b></i></div><div><b><br /></b></div><div>The most important complex function of the brain is to maintain internal life support. The subconscious brain has a vivid powerful awareness and control of the internal universe of the body. The conscious mind has very little internal awareness unless something goes wrong resulting in physical pain, emotional discomfort or malfunction of motor skills (paralysis or involuntary). The mighty brain is in complete control of the internal function of the body even when the mind is sleeping or even under anesthesia. The intellectual mind can rest without any concern that the brain will take the day off from it's most important job of keeping the body alive. </div><div><br /></div><div><b>WHAT HAPPENS WHEN WE ATTEMPT TO REVERSE THE ROLES OF THE MIND AND BRAIN? THE SUBSTITUTION OF WEAKNESS FOR STRENGTH ALWAYS RESULTS IN AN ANTAGONISTIC RELATIONSHIP MOTIVATING DISFUNTION, PARALYSIS AND FAILURE.</b></div><div><b><br /></b></div><div><b>We must have the courage to create music the same way we do everything else in everyday life. The skill of walking or talking is not an intellectual endeavor. However, knowing where we want to walk and what we want to say is a requirement conscious intellect. We can walk and talk very effectively if we allow the power of the subconscious brain to motivate the extremely complex motor function required to function. </b></div><div><b><br /></b></div><div><b>Arnold Jacobs</b></div><div><b><i>You can be as intellectual about your understanding and awareness of the music as you want. But you must not be intellectual about how to produce it. I want you to have the mind of a child. </i></b></div><div><b><i>Don't be a great thinker. Be an effective doer.</i></b></div><div><b><i><br /></i></b></div><div><b>WE LIVE IN TWO DIFFERENT WORLDS BUT THEY ARE JOINED BY A ONE WAY STREET.</b></div><div><b><br /></b></div><div>The brain is very effective at sending and receiving information to and from the external and internal worlds. But it's somewhat ineffective doing both at the same time. <b>Water flows freely in either direction through a garden hose but it cannot flow in two directions at the same time. </b></div><div><br /></div><div><b><i>WE CANNOT ATTEMPT TO SIMULTANEOUSLY THINK ABOUT WHAT WORDS TO SAY AND MECHANICALLY HOW TO SAY THEM OR WE WILL BE MUTE.</i></b></div><div><b><br /></b></div><div><b><i>THE SUBCONSCIOUS FUNCTIONAL BRAIN WILL RESPOND FAITHFULLY AND POWERFULLY TO THE CONSCIOUS AWARENESS OF THE MUSICAL MIND. WHEN THE MUSICAL AWARENESS OF THE MIND IS VAGUE OR NONEXISTANT, THE RESPONSE OF THE BRAIN WILL BE MOTIVATED BY THE SENSE OF FEEL RATHER THAN SOUND.</i></b></div><div><b><br /></b></div><div><b><i>FEEL AND FAIL ARE FOUR LETTER WORDS TO A BRASS PLAYER (MUSICIAN).</i></b></div><div><b><br /></b></div><div>Attempting to motivate the complex motor skills required to create sound with the weak awareness of feel is like trying to drain the water out of a swimming pool with a straw. </div><div><br /></div><div><b>THE SYMBIOTIC RELATIONSHIP OF THE MIND, BRAIN AND BODY </b></div><div><b>The components of this formula cannot be rearranged!</b></div><div><br /></div><div>MUSICAL<b> AWARENESS (</b>MIND<b>) + </b></div><div>MENTAL<b> COMMITMENT (</b>MIND<b>) = </b></div><div>PHYSICAL <b>EXECUTION</b><b> (</b>BRAIN AND BODY<b>)</b></div><div><br /></div><div><b>ARNOLD JACOBS</b></div><div><i>I sing the notes in my head as I play them. It doesn't matter how my lip feels or how I feel.</i></div><div><br /></div><div><b><i>THE THINK SYSTEM</i></b> from <b><i>THE MUSIC MAN</i></b> by <b>MEREDITH WILLISON</b></div><div><i>You only have to think the tune to have it come out perfectly clear.</i></div><div><br /></div><div><b>ADOLPH HERSETH</b></div><div><i>Think sound not mechanics.</i></div><div><b><br /></b></div><div><b>ESTEBAN BATALLIAN</b></div><div><i>It's not about the trumpet. It's about the music.</i></div><div><br /></div><div><b>MATE BORZSONI</b></div><div><i>It's really just mouthpiece playing.</i></div><div><b><br /></b></div><div><b>SERGIO CAROLINO</b></div><div><b><i><u>MIND vs. METAL</u></i></b></div><div><b><i><u><br /></u></i></b></div><div><b>ERIC HYLANDER</b></div><div><i>It is not possible to sit on the stage and in the audience at the same time.</i></div><div><b><i><br /></i></b></div><div><b><i><u>THE SECRET OF THE AGES</u> by </i>ROBERT COLLIER</b></div><div><i>You have a magnet in your subconscious mind that will draw you to anything right you may wish for.</i></div><div><i><br /></i></div><div><b>ROGER ROCCO</b></div><div><b><i><u>Students</u> practice,<u> Professionals</u> perform</i></b></div><div><u><i><b>Sound Motivates Fu</b></i><i><b>nction</b></i></u></div><div><u><i><b>Our motors operate on DIRECT CURRENT only.</b></i></u></div><div><i><b>There is no reason for your success or failure other than your</b> <b><u>State of Mind</u>.</b></i></div><div><i><b>There is a thin line between <u>S</u>UCCESS AND <u>F</u>AILURE. </b></i></div><div><b><i><u>S</u>UCCESS=SINGING. Playing by Sound Awareness to motivate<u> physical execution.</u></i></b></div><div><b><i><u>F</u>AILURE=FEEL, Playing by weak ineffective sensory input that motivates<u> paralysis.</u></i></b></div><div><i><b>We must be musicians first and instrumentalists second.</b></i></div><div><i><b><u>FOCAL DYSTONIA</u> is a treatable symptom not an incurable disease.</b></i></div><div><i><b>It's Just The Singing!</b></i></div><div><i><b><br /></b></i></div><div><i><b>HOW FORTUNATE WE ARE TO HAVE GREAT MUSIC IN OUR LIVES!</b></i></div><div><i><br /></i></div><div><i><br /></i></div><div><i><br /></i></div><div><br /></div></div>Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.comtag:blogger.com,1999:blog-5301079526041772488.post-30694085204832025802021-06-04T17:30:00.006-07:002022-04-23T17:37:16.794-07:00A STORY OF ARNOLD JACOBS<p><span style="font-family: TimesNewRomanPS; font-size: 12pt; font-weight: 700; text-align: center;"><span> </span>ARTISTRY, TEACHING, STUDENTS, AUDIENCE</span></p><div class="page" title="Page 1"><div class="layoutArea"><div class="column">
<p></p><div style="text-align: center;"><span style="font-family: TimesNewRomanPS; font-size: 12pt; font-weight: 700;">MYTHS, TRUTHS, EVOLUTION</span></div><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">
Dr. Jacobs </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">preferred to be called </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Arnold</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">. Most people called him </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Jake </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">which is how I always knew
</span><p></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">him. His wife Gizella and family members, always called him Arnold.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Jake
</span></p><p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;"><i>It is best to be somewhat unconscious of our physical maneuvers but highly conscious of our musical goals. </i></span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">I am telling a story to an audience when I play.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Dale Clevenger
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Whether they realize it or not, most professional brass players have been profoundly influenced by
the teaching of Arnold Jacobs.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">MY FIRST OPPORTUNITY
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">I first encountered the greatness of Arnold Jacobs and The Chicago Symphony Orchestra in 1963. I was
a 14 year old high school tuba player who loved music but didn't play very well. I was fortunate to be
invited to Orchestra Hall by a classmate, whose father was an esteemed horn player in the orchestra.
Attending the magnificent concert was a life changing experience, but I didn't meet Jake until the
beginning of my senior year in high school in September, 1966.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">I was so impressed by the sound of the orchestra and Jake's incredible presence, that my life in music
was completely transformed. I immediately dedicated myself to a disciplined practice schedule, but I
was no longer just mindlessly fingering and blowing a tuba. I strove to sound like Jake but I also
imitated the power and musical character of the entire orchestra. Every day I imitated the sound that
had made such a powerful impression on my mind with my tuba. It was a vivid aural picture of what
greatness in music should sound like. Gradually, the sound coming from my bell became more like
what I heard sitting in the Gallery of Orchestra Hall. Others heard it as well.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">I progressed from being a rudimentary high school tuba player to developing a reputation as a
somewhat accomplished one. Wonderful opportunities began to come my way but the greatest of all
was yet to come. Several people mentioned my name to Jake, but at first he put them off. Their
persistence eventually provided me an opportunity to play for him at his home on the south side of
Chicago. I grew up and lived only a few miles away.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">My first meeting with Jake was not intended to be a lesson. It was an audition for the possibility of a
future lesson. What an incredible experience! Jake instructed me to play anything I wanted.<br />
Of course, I wanted him to hear the sound that I strove for day after day for over three years. The
process was nothing more than imitating his sound and that of the entire orchestra. I played for about
30 minute without comment or instruction from Jake. Then he said these words that forever changed
my life in music.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">“You sound like you have already been studying with me for three years.”
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">At that moment, I didn't fully understand the significance of what he had said. Yes, I had been studying
with him for three years! Hearing his powerful sound and that of the entire </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">orchestra </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">was all that I
needed.
</span></p>
</div>
</div>
</div>
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<div class="column">
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Our close relationship developed at an opportune time, because he required an assistant tuba player in
the orchestra, I needed opportunity. For six years, I played when he was ill or took vacation time. I also
played occasional second tuba parts.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">In 1967, I was a music student at Roosevelt University</span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">, </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">located only a couple of blocks from Orchestra
Hall. I was always available to substitute at a moment notice. In the early 70s, Jake thought his asthma
might require early retirement. Fortunately, new medications were developed that allowed him to
continue his playing career for many more years.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">THE FIRST SOUNDS FROM A BOY WITH A BUGEL
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">One day, young Arnold returned home from a Boy Scout meeting with a bugle. He volunteered to be
the bugler for his troupe but he new nothing about how to play it. Arnold only understood that he
needed to produce sound with his lips in the mouthpiece. His mother was an accomplished pianist, but
she new nothing about how to play a brass instrument. She was aware of the simple melody (Taps) that
was traditionally played on the bugle for solemn military ceremonies.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Arnold's first experiences as a bugler later became the basis for his success as a professional musician
and teacher. </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">It was a very simplistic approach to motivating the very complex mechanical function
required to play. His mother played the notes on the piano and Arnold imitated the sounds he
heard with the bugle. </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Arnold's success eventually lead to an opportunity to play the trumpet.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">I was a pretty good trumpet player until the first (analytical) teacher came along.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">I never heard Jake discuss his displeasure with his trumpet teacher, other than that disparaging
comment. I suspect that his disappointment motivated his interest in learning a different instrument. He
noticed a used trombone for sale for $10 in the window of a pawn shop and asked his mother to
purchase it for him. It was an great investment in his future, that of his family, and those who followed.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">We must give dominance to the music not the instrument..
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Arnold excelled playing the trombone the same as he did with the other instruments. His primary focus
was always on producing musical sounds, never only playing the instrument. In 1930 at the age of 15,
he won a full scholarship on trombone to the Curtis Institute of Music in Philadelphia. His entire family
drove across the country from California to Philadelphia with his trombone strapped to the outside of
their car. After stopping for dinner one evening, they discovered that the trombone was missing.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">I didn't find the tuba. The tuba found me.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Upon arriving at Curtis, Arnold explained to an administrator that his trombone was lost and he had no
replacement. The school didn't have a trombone either, but they did have an old dusty tuba that nobody
seemed interested in playing. He remarked that the tuba mouthpiece felt like a coffee cup on his lips. It
didn't matter because he didn't play any instrument by feel awareness. He always played by sound
awareness.
</span></p>
</div>
</div>
</div>
<div class="page" title="Page 3">
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<div class="column">
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">CURTIS AND BEYOND
</span></p>
</div>
</div>
<div class="layoutArea">
<div class="column">
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake soon developed into an accomplished tuba player. He was very fortunate to play under the
direction of the great maestro, Fritz Reiner. Jake said he spent more time with Reiner than his father.
After graduating from Curtis, he and Reiner were reunited in Indianapolis, Pittsburgh, and Chicago.
Jake greatly credits Reiner for influencing his musical development, but pleasing the maestro was
always a challenge.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">I was tested every time I played in Reiner's orchestra.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">After playing tuba for only three years, Jake won the job as principal tubist with the Boston Symphony.
However, he declined the position because he was a member of the musicians union and Boston was a
non-union orchestra. Jake was advised that he might be expelled from the union if he took the job.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">While at </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Curtis </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">and throughout his life, Jake supported his family financially. As a student in the early
1930s, he played tuba in ballroom orchestras around Philadelphia. One day the orchestra leader asked,
</span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">“</span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Arnold, can you play string bass?</span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">” </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">The country was in the grip of The Great Depression so his is
family depended on his income. </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Sure, I play string bass!
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake had never played a note on the bass but he knew he had to acquire one and learn to play it. He
found an instrument and put chalk marks on the fingerboard. He didn't require instruction about how to
play because he knew what the instrument should sound like.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake remarked that he eventually could play the Fifth Symphony of Beethoven quite well. When he
came to Chicago in the late 1940s, he worked around town on bass and tuba to supplement his income
from the orchestra and teaching. Jake retired from the orchestra in 1988, but he never retired from
teaching. When asked how he wanted to be remembered, Jake always responded...
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">I want to be remembered most for my teaching.
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">It didn't matter what instrument Jake had in his hands. His imaginative musical mind always
transcended the mindless brass tube or wooden box he was holding to deliver beautiful sound to
an audience.
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">There are two instruments. One in the hands and one in the head. The one in the hands is a mirror
reflecting the one in the head.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">THE HOME STUDIO
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">For many years, Jake taught in a small room located in the front of the basement of his home. He
created a very unique environment that had a powerful psychological influence on everyone who
experienced it. The room was filled with various devices including meters, gauges, breathing
apparatuses and anatomical charts. They seemed to engulf the only two chairs present in the small
space. It was an impressive presentation that made everyone realize that they were in Jake's world and
were completely under his influence. He seemed to enjoy every moment. Jake rarely used any of the
devices with me, but their presence had a powerful influence on my mind because they were an
extension of him.
</span></p>
</div>
</div>
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<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">During my lessons, esteemed musicians frequently called or arrived at his front door. Great conductors
such as Szell, Dorati, or Solti routinely called for advice about a member of their orchestra or to inquire
if he had anyone ready for an available position. Jake was so highly regarded that many of his students
were placed in orchestra jobs without auditioning. I was always greatly honored and thankful to be in
Jake's presence and to experience his gift of the </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">joy of music </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">in my life.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">FIRST MYTH
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">JAKE DID NOT HAVE JUST ONE LUNG! </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">He had two lungs but they were not healthy, because he
was a severe asthmatic for most of his life. Asthma reduced his vital lung capacity to that of a single
healthy lung, about 2.5-3 liters for an average adult male. His lung capacity was further reduced to
around two liters by the end of his playing career. The powerful amplification provided by his 6/4 York
tuba helped compensate for his limited capacity.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Jake's physical limitations were a hindrance but never a handicap!
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">At times, Jake felt like there was an elephant was sitting on his chest. But that never distracted him
from a powerful mental commitment to sound. </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Jake understood that his imaginative musical mind
would always motivate his subconscious brain to create the complex motor function necessary to
play, </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">however, he envied tall brass players who had a large vital capacity.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake frequently exclaimed to me...
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">I wish I could transfer my brain to your body!
SONG and WIND
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">I was one of the contributors to the book, authored by Brian Fredericksen, edited by John Taylor, and
published by </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Windsong Press Limited, 1996</span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic;">. </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">When </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">SONG and WIND </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">was ready for publication and
printing, I mentioned to Brian that a powerful quotation summarized the book's most important content.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">I sing the notes in my head as I play them. It doesn't matter how my lip feels or how I feel.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">SECOND MYTH
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">IT'S 85% WIND AND 15% SONG.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Many musicians and educators are mistakenly under the impression that his emphasis in teaching was
mostly on anatomy and the physiology of breathing (</span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">WIND</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">). </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">NO, THE REVERSE IS TRUE!
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">IT'S 85% SONG AND 15% WIND.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake was master of </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Song </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">(musical awareness) which motivates </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Wind </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">and all the other complex motor
skills required to play.
</span></p>
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<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">In performing or teaching, Jake was always a musical artist singing the notes in his mind as he played
them. Frequently, he sang aloud vocally along with his students. Interestingly, he rarely played the tuba
for me in lessons. My best playing always occurred at the end of a lesson when he assigned new music
to prepare for my next appointment. He asked me to sightread the assignment but he always sang along
vocally as I played. My playing was always accurate and effortless, but I never completely understood
why. I was puzzled because I could never perform at the same level when I left his home. Later, I
realized that he was providing the </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Song </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">that I needed to provide for myself.
</span></p>
<p></p><div style="text-align: center;"><span style="font-family: TimesNewRomanPS; font-size: 12pt; font-weight: 700;">TRUTHS</span></div><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;"><div style="text-align: center;"><span style="font-size: 12pt;">THE EAR OF THE MIND</span></div></span><p></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">The key to playing an instrument can be found in speech.
The lips can become vocal chords.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake was never interested in intellectual self awareness, self analysis, or even much awareness of an
instrument.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">I want you to have the mind of a child.
Paralysis by Analysis
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">My best work with the Chicago Symphony Orchestra always occurred when I sat next to Jake or bass
trombonist, Edward Kleinhammer. </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">They provided a powerful musical awareness (Song) for me.<br />
I simply opened my ears and came along for a joyous and effortless ride</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">I am ordering products (musical sounds) not mechanical maneuvers.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake's message regarding </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Wind </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">is very simple. Inhale large breaths and renew them often. Avoid
playing past the last 33% of vital capacity because it becomes increasingly more difficult to expel air
past 50% of capacity. The last 1/3 of capacity is mostly ineffective when playing a wind instrument.
The uncomfortable stress of trying to expel air to empty distracts the mind from musical awareness and
can lead to respiratory malfunction.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">We must allow the demands of the music to be the primary influence of breathing,
fingering, embouchure, or anything else!
</span></p><p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">We must not learn an instrument to play music. We must learn music to play an instrument.</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">THE STUDY OF ANATOMY AND PHYSIOLOGY
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake wanted to learn how to cope with the physical limitations resulting from asthma, so he extensively
studied physiology and anatomy. His various devices, anatomical charts and vast library of medical
texts and journals are now located in an archive at DePaul University in Chicago. Jake's studies
eventually became of such great interest that he decided to incorporate his insights into his teaching.
</span></p>
</div>
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<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">VISUAL AWARENESS TO ENHANCE AUDITORY AWARENESS
</span></p>
</div>
</div>
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<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake used visual devises to provide enhanced input to the brain. Their purpose was to help motivate the
complex motor (</span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">muscular</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">) function required to play. Some devices were mechanical like a common
hospital inspirometer that encouraged deep inhalation. Others were electronic, such as an oscilloscope
that provided a visual picture of precise articulation. Jake understood that 30% of the brain is dedicated
to processing sight. But he utilized visual awareness only to enhance but not substitute for auditory
awareness. Jake always emphasized that we must play by sound to motivate output from the brain.
Sensors motivate input to the brain.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">MOTOR FUNCTION vs SENSORY AWARENESS
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">We cannot create accomplishment through sensory systems. It can only occur through
motor systems.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">The same area of the brain involved in sending messages is the same area that receives them. We can
be very effective at sending or receiving messages but not both at the same time.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Adolph Herseth
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">It's amazing what the chops can do if the (analytical) mind is not allowed to interfere.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Sergio Carolino
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">MIND vs METAL
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake understood that if a musician is motivating sensory input by analyzing how they feel or what they
were doing mechanically, the motor function necessary to create accomplishment is greatly inhibited.
Levels of physical paralysis can occur, but also emotional maladies such as fear, anxiety, self doubt and
even physical pain can result. If these maladies are conditioned to occur simultaneously, total paralysis
can result.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">If such a dysfunctional a state of mind persists for an extended time, the resulting symptoms can
become powerfully conditioned to any physical object. The mental and physical dysfunction gradually
becomes motivated by the presence of the object (instrument) in the hands.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">The </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Conditioned Reflex </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">experiment of </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Ivan Pavlov </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">revealed that the sound of a bell could condition a
dog to salivate in response to sound rather than seeing and smelling food.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">The instrument can also be a stimulus motivating effective function. It depends on whether the long
term conditioning is positive (</span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">functional</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">) or negative (</span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">paralyzing</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">).
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Will Scarlet
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Even the most positive analytical thought is still negative.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Roger Rocco
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Feel and Fail are four letter words to a brass player.
</span></p>
</div>
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<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">SELF ANALYSIS, SELF AWARENESS AND THE MINDLESS TUBE
</span></p>
</div>
</div>
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<div class="column">
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">I frequently work with students away from their instrument to disengage its paralyzing influence.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Although Jake used devices and exercises to encourage the large inhalation of quick large breaths,<br />
he also used them to distract from paralyzing self awareness. At times. he instructed a student to walk
or march around the room, stand on one leg or squat. The disconnect from the paralyzing influence of
instrument was always immediate and powerful, but it was always short lived. However, Jake had
another form of distraction that was more effective and long lasting.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">MUSICAL AWARENESS AND COMMITTMENT!
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">PICTURES OF THE MIND
(Creative Visualization)
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">It's not what you sound like that matters. What matters is knowing what you want to sound like.
If you want to become an accomplished musician, you should imagine yourself becoming so.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">TRUMPETS AND TUBAS ARE JUST MINDLESS TUBES.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake liked to demonstrate that a mindless tube is not the real instrument. He imagined that he was
playing a trumpet when he had his enormous 6/4 </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">York </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">tuba in his hands. Jake could play his tuba in the
middle and upper registers of the trumpet with the same ease and character of sound. Although the
mindless brass tube was pitched two octaves lower and three times the length!
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">We were warming up in the basement locker room of Orchestra Hall for a Friday afternoon
performance of </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">The Rite of Spring </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">with </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Solti </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">and the </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">CSO</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">. Jake sat in front of his locker and I sat
about ten feet away facing him. I was stunned when he effortlessly began to play his tuba as if it was a
trumpet. </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">It sounded like a trumpet! </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">As I watched and listened, a powerful auditory and visual
impression of the experience was deeply implanted in my mind. The powerful picture remained in my
conscious thoughts the rest of the afternoon.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Later, I returned to Orchestra Hall for a rehearsal of </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">The Civic Orchestra</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">. I decided to sit in the exact
location where I had observed Jake earlier. In my mind, I could see and hear him exactly as I did
earlier. Suddenly, </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">I knew that I could reproduce what he demonstrated. </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">It was an exciting but
somewhat frightening experience. I didn't understand how my playing could be transformed to such a
new level so quickly and powerfully.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">I was never able to recreate that moment again. I didn't understand that the </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">VISION was more
important than playing the tuba.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">SILENCE INTO SOUND
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Don't overlook the first note of passage because the notes that follow will be played at the same level
of awareness and commitment.
</span></p>
</div>
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<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">SINGING AND BUZZING
</span></p>
</div>
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<div class="column">
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">I NEVER EVEN CONSIDERED THE EMBOUCHURE.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">We don't need to study vocal chords or lips to produce a beautiful sound.
We only need to study the sound.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Paralysis by Analysis
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Adolph Herseth
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Think sound not mechanics.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Roger Rocco
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Sound motivates function.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">THE BEAUTIFUL SINGER
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake had a beautiful singing voice and was also a master of </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">solfeggio</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">, which he developed at Curtis.
Frequently, he added unrelated words to musical phrases. Vocalists have an great advantage because
awareness of words and pitch originate from the same area of the brain.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">MOUTHPIECE PLAYING
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">As an adolescent, Jake was hospitalized for extended periods to treat his asthma. He had no instrument
but he always had a mouthpiece. </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">He remarked that he always played better when he left the
hospital than before he went in. </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">He also noticed that playing the mouthpiece and tuba was an
effective therapeutic treatment for his asthma. Jake always felt better after a concert than before.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Adolph Herseth, myself, and many others enthusiastically encourage mouthpiece playing to “</span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">sing from
the lips</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">”. Mouthpiece playing (buzzing) is also a powerful tool to disengage from the paralyzing
influence of an instrument. For amplification, Jake sometimes played his mouthpiece inserted into a
short plastic tube with a funnel. The British hornist, Dennis Brain, recorded and performed the </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Horn
Concertos </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">of Mozart with his mouthpiece placed in a garden hose with a funnel at the end.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake also practiced with a mouthpiece that had most of the bowl removed. There was just enough metal
remaining to connect the rim to the stem which went into the leadpipe of his tuba. He also buzzed with
just the mouthpiece rim that he conveniently kept in his shirt pocket. In clinics he enjoyed
demonstrating the beautiful sound he could produce by just playing on the mouthpiece rim.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Mouthpiece buzzing is also a powerful tool that encourages a more </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">resonant tone</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">. The subconscious
mind (reactive) will motivate the body to compensate for the reduced amplification of playing without
the instrument, however, the producer must always be highly aware of the sound in his or her mind
before it can be realized mechanically by the body for an audience to hear. The </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">BERP </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">and it's
knockoffs (buzz aid, etc.) are useful devices that allow a brass player to play their mouthpiece and
finger or move a slide simultaneously
</span></p>
</div>
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<p><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Jake never prioritized physical execution over musical awareness and mental commitment. He
always transcended playing the instrument itself which he considered to be of lessor importance
than what it should sound like. Jake was always motivated to influence the instrument with
sound rather than allow the instrument to distract him from the sound.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">He always enjoyed playing fine instruments, such as his great </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">York </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">tuba, like everyone else. But Jake
sounded the same playing any instrument. </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Jake was the real instrument, not the mindless brass tube
in his hands.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">I fill the instrument with sound because it has none of its own.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake and I were warming up in the basement locker room of Orchestra Hall prior to performing
</span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic;">Also </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">s</span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic;">prach Zarathustra </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">by Richard Strauss. Jake asked, “Do you want to play the York tuba?”
Unfortunately, I was only allowed to play it for a few seconds. </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Too bad because it was a joy ride!
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Give it back because I don't want you to get used to it!
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">EVOLUTION
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">I knew Jake for almost four decades. Only his personal lawyer studied with him for a longer time. As
his assistant in the CSO and colleague teaching at Northwestern University, we worked together on the
stage and in a studio. </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">In later years, many of his former students and I noticed a gradual evolution
in the emphasis of his teaching.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">SONG vs WIND
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake's teaching was somewhat analytical at times as he evaluated what a student was doing correctly or
incorrectly mechanically, however, he always stressed the importance of having a musical mind that is
powerfully committed to sound and communicating it to an audience. </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">He was never an analytical
teacher when an instrument was in his hands. He also cautioned his students to avoid paralyzing
self analysis and awareness while playing.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">When you are on the stage, always be a musician. Never be a teacher listening in the audience.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">You really don't need to know much about anatomy to play an instrument. But you do need to know
a lot about the music you want your audience to hear. You can be as intellectual about your
understanding of the music as you want, but you must not be intellectual about how to produce it.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">I don't care if everything you are doing is wrong (mechanically) if it sounds good.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">(It can't be wrong if it sounds good!)
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Go for the product (musical sound).
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">THE MAGICIAN
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake was a master illusionist who fooled audiences into thinking that it took great strength to play his
enormous tuba. </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">It took great strength to carry and hold but not to play. His great strength was in
his mind. It was not necessary to have great physical strength in his body.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Strength is your enemy, weakness is your friend.
</span></p>
</div>
</div>
</div>
<div class="page" title="Page 10">
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<div class="column">
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake's sound was so powerful that at times it seemed to lift the entire Chicago Symphony Orchestra off
the stage. Because of his reduced lung capacity, he couldn't sustain a loud or low frequency sound very
long. His inhalations were always perfectly disguised by masterful phrasing. He was aware that the
strong brass players around him would help create an illusion of immense sustaining power. Jake knew
precisely when to contribute his sound to achieve maximum impact.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">It was brilliance not deception!
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">I have spent my entire career comprehending and developing the </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">musical mind of Arnold Jacobs.
</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Every day I encourage others to also achieve his extraordinary level of </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">imaginative musical
awareness</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">, </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">commitment</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">, and </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">execution</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">WE MUST GIVE DOMINANCE TO THE MUSIC, NOT THE INSTRUMENT.
AN INSTRUMENT GIVES A READOUT OF THE THOUGHTS.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">THERE ARE TWO INSTRUMENTS. ONE IN THE HANDS AND ONE IN THE HEAD. THE
INSTRUMENT IN THE HANDS IS A MIRROR REFLECTING THE ONE IN THE HEAD.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">I SING THE NOTES IN MY HEAD AS I PLAY THEM. IT DOESN'T MATTER HOW MY LIP
FEELS OR HOW I FEEL.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">LESSONS FROM THE STAGE
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Transcending the instrument.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">I played the second tuba part when the </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">CSO </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">performed the Berlioz, </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Symphonie Fantastique </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">on an
</span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Eastern </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">tour in 1971. At </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">The Kennedy Center for the Performing Arts </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">in </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Washington, D.C.</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">, Jake
was very ill with a severe cold and fever. He didn't have the strength to carry his tuba to the stage so I
brought it to his chair. The low brass tacit the first three movements so we always enjoy listening.
While the orchestra was performing the first three movements, I noticed Jake coughing, perspiring,
wheezing, and inhaling his asthma medication deeply. As the time came to play the fourth movement, I
I prepared to play the first part, which enters at the beginning of the movement.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">I was ready to play but my assistance was not required!
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Jake played so powerfully and accurately that he sounded like Arnold Jacobs when he was 25 years
old! </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Neither his illness, weakened body or the mindless tube in his hands prevented him from
communicating a powerful story to the audience. </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">I was stunned but I was also amused. How could I
doubt that he would be able to do it?
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">There was never any doubt in his mind!
</span></p>
</div>
</div>
</div>
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<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Singing and playing.
</span></p>
</div>
</div>
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<div class="column">
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">There was another amazing experience playing the second tuba part to </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">Deserts </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">by Edgar Varese. This
story became an urban legend after I first wrote about it in the book, </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">SONG and WIND. </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">I have heard
many different versions buzzing around, but this is the authentic legendary tale.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">The first tuba part has a treacherous single note that has caused great embarrassment and frustration for
many fine tuba players and everyone else who has had the misfortune to hear it. The single note is a
very exposed Gb above high C that must be played alone, very softly, and after a long pause..<br />
I was glad it was in the first part rather than mine. When it doesn't go well for the first player (often!),
conductors may ask the second tuba to play it. Unfortunately, that option is rarely successful unless
they get lucky. The great fortune never extends to the concert!
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">Erich Leinsdorf was the guest conductor when an extraordinary event occurred during the first
rehearsal. As the time approached to play the high Gb, I could hear Jake softly singing it vocally in
falsetto into his mouthpiece. At the moment when it occurs in the score, he sang the note a little louder
as he pressed the appropriate valve on his tuba. </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">It sounded perfect! </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">The orchestra thunderously
pounded the floor with their feet and applauded. Leinsdorf immediately stopped the rehearsal and
shouted, “</span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Bravo Mr. Jacobs</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">!”. Jake and I were the only two people on the stage who knew he sang the
note with his vocal chords rather than playing it with his lips! With his familiar smile and a twinkle in
his eye, he turned to me and said...
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">My personal integrity will not allow me to do that in performance.
</span></p>
<p><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">We rehearsed several more times and there were six public performances. He played the note perfectly
each time, but I always first heard him softly </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">singing </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">the note vocally just before </span><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">playing </span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12pt;">it with his
lips.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">MORE PRICELESS LESSONS FROM THE MASTER!
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Thank you again Arnold from all of us whose lives have changed immeasurably because of your
profound influence. And thank you to every musician and teacher who has shared your joy of
music with others.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">In August, 1998, my final words spoken to Jake were a promise.
</span></p>
<p style="text-align: center;"><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">“Your work will live on through your students.”
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-style: italic; font-weight: 700;">IT'S JUST THE SINGING!
</span></p>
<p><span style="font-family: 'TimesNewRomanPS'; font-size: 12pt; font-weight: 700;">Roger Rocco
April 30, 2021
</span></p>
</div>
</div>
</div>Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com1tag:blogger.com,1999:blog-5301079526041772488.post-52980524322326590322016-04-04T17:29:00.000-07:002017-11-27T20:32:13.739-08:00FEEL and FAIL are four letter words to a brass player.<b><i></i></b><br />
ROGER ROCCO<br />
<br />
<i><u>THE OBJECT IN YOUR HANDS IS NOT THE REAL INSTRUMENT. YOU ARE THE REAL INSTRUMENT. THE MUSIC TELLS US EVERYTHING WE NEED TO KNOW. WE MUST HAVE THE COURAGE TO RECEIVE IT'S POWERFUL MESSAGE.</u></i><br />
<i></i><u></u><br />
<b><i>There are two methods to motivate the complex mechanics required to create musical sounds with an instrument. However, only one method is effective while the other is very dysfunctional. </i></b><br />
<b><i><br /></i></b>
<b><i>If we don't motivate the subconscious mind to create mechanical function based on a powerful conscious awareness of sound, the subconscious will attempt to create sound awareness by feel. Essentially making the embouchure function like ears.</i></b><br />
<b><i><br /></i></b>
<b><i>That's like trying to drain an ocean with a straw or heading the wrong way down a one way street. </i></b><br />
<br />
<b>THE MUSICAL MIND IS MOST IMPORTANT ELEMENT OF CREATING MUSIC. NEITHER LIPS, TONGUE, LUNGS, FINGERS, OR THE MINDLESS BRASS TUBE IN THE HANDS ARE CAPABLE OF CREATING A SINGLE NOTE WITHOUT THE INFLUENCE OF AN IMAGINATIVE MIND COMMITTED TO ONLY THE MUSIC.</b><br />
<br />
<b>THE SUBCONSCIOUS (REACTIVE MIND) WILL RESPOND FAITHFULLY AND POWERFULLY TO THE CONSCIOUS AWARENESS OF SOUND IF THE AWARENESS IS VIVID AND POWERFUL. RESPONSE WILL ALWAYS EQUAL AWARENESS IF THERE IS NO INTELLECTUAL INTERFERENCE.</b><br />
<br />
ARNOLD JACOBS<br />
<br />
<b><i>There are two instruments. One in the hands and one in the head. The instrument in the hands is a mirror reflecting the one in the head.</i></b><br />
<b><i><br /></i></b>
<b><i>I always believe that it is best to be somewhat unconscious of our physical maneuvers but highly conscious of our musical goals.</i></b><br />
<b><i><br /></i></b>
<b><i>I sing (think) the notes in my head as I play them. It doesn't matter how my lips feels or how I feel. </i></b><br />
<br />
MEREDITH WILLSON<br />
<br />
<b><i>THE THINK SYSTEM from THE MUSIC MAN</i></b><br />
<b><i><br /></i></b>
<b><i>You only have to think the tune to have it come out perfectly clear.</i></b><br />
<br />
ADOLPH HERSETH<br />
<br />
<b><i>There is nothing wrong with your chops (tongue, lungs, hands). Your mind is messing them up.</i></b><br />
<br />
<b><i>Paralysis by Analysis.</i></b><br />
<br />
SERGIO CAROLINO<br />
<br />
<b><i>Mind vs. Metal</i></b><br />
<b><i>I don't care much about TUBAS because they don't have a brain.</i></b><br />
STEPHEN WILLIAMSON<br />
<br />
<b><i>I try to play it (Mozart Clarinet Concerto) from a vocal perspective, like an opera singer. The piece has little to do with the clarinet at all!</i></b><br />
<br />
ROGER ROCCO<br />
<br />
<b><i>THE YELLOW BRICK ROAD.</i></b><br />
<br />
<b><i><u>AWARENESS</u></i> OF MUSIC</b><br />
<b>MENTAL <u>COMMITMENT</u></b><b><u> </u>TO AWARENESS OF MUSIC</b><br />
<b><i><u>EXECUTION</u></i> OF MENTAL COMMITMENT TO MUSIC</b><br />
<b><i><br /></i></b>
<b><i>You cannot have a powerful musical commitment to a low level of musical awareness.</i></b><br />
<b><i><br /></i></b>
<b><i>You cannot learn to speak language without first hearing the sound of words. And you cannot create musical sounds with an instrument or vocally without first having a vivid awareness of the sound in the imaginative mind. Creating musical sound is not a mindless process.</i></b><br />
<b><i><br /></i></b>
<b><i>Most people struggle to develop their mastery of the instrument in their hands. The key to developing instrumental skills is to develop musical skills first. </i></b><br />
<br />
H. A. Vandercook<br />
<br />
<b><i>Keep it simple.</i></b><br />
<b><i><br /></i></b>
<b><i>If you can sing it, you can play it.</i></b><br />
<br />
<b>THE CONFLICT BETWEEN SOUND AWARENESS AND FEEL AWARENESS.</b><br />
<br />
Our ability to detect sound externally with ears and internally in the mind is very powerful. But the ability to detect specific sounds using the sense of feel is very weak. Yes, we can feel sound vibrations but it is not possible to detect frequency by touch. People without the ability to hear cannot substitute their hands for their deaf ears.<br />
<br />
<b>THE MYTH OF BEETHOVEN'S EARS</b><br />
<br />
For many years, children were taught that Beethoven was able to hear the sound of his piano by placing his head on the sound board to feel the vibrations. How did Beethoven retain a powerful awareness of sound though his ears failed to function? Although his sound awareness was no longer available externally, it was still powerful internally in his mind and it became even more so in time. It is said that the 9th Symphony is the greatest music he ever composed but Beethoven never heard a single note with his ears. It obviously didn't matter.<br />
<br />
<b>LIPS INTO EARS</b><br />
<br />
When the brass player's conscious auditory awareness of frequency is vague or absent, the subconscious mind reacts by trying to create pitch awareness by detecting the notes by feel in the lips. Woodwind players frequently attempt to detect the notes by feel in their hands. Since the lips and fingers are unable to detect frequency by touch, no information such is communicated to the brain. Without conscious auditory awareness or feel awareness the subconscious mind has no information with witch to respond so there is no response. <b>PARALYSIS!!!</b><br />
<b><br /></b>
<b>SYMPTOMS vs. CAUSE</b><br />
<b><br /></b>
There are two questions I always ask of those attending my clinics or masterclasses. I have asked these questions hundreds of times of all age groups and performance levels worldwide.<br />
<br />
<b>1. Have any of you ever been told you have air or embouchure problems?</b><br />
<b>2. Has anyone ever wanted to throw their instrument through a brick wall?</b><br />
<br />
The response is always 100% affirmative.<br />
<br />
Most people consciously to correct their physical symptoms of malfunction. But they don't understand what is motivating the symptoms which are directed by the subconscious. <br />
<br />
<b>WE CANNOT SPEND OUR MUSICAL LIVES REACTING TO PHYSICAL AND EMOTIONAL SYMPTOMS OF FAILURE.</b><br />
<b><br /></b>
<b>WE MUST REACT TO WHAT IS CAUSING THEM. THE LACK OF MENTAL COMMITTMENT TO THE MUSIC.</b><br />
<br />
ADOLPH HERSETH<br />
<br />
<b><i>Think sound not mechanics.</i></b><br />
<b><i><br /></i></b>
ROGER ROCCO<br />
<br />
<b><i>Sound motivates function.</i></b><br />
<b><i><br /></i></b>
<b><i>The music tells us everything we need to know.</i></b><br />
<b><i><br /></i></b>
ARNOLD JACOBS<br />
<br />
<b><i>The key to playing an instrument can be found in speech.</i></b><br />
<b><i><br /></i></b>
<b><i>We cannot motivate motor function (output) through sensory awareness (input).</i></b><br />
<br />
SHINICHI SUZUKI<br />
<br />
<b><i>We can teach a child how to play an instrument the same way they learned to speak.</i></b><br />
<b><i><br /></i></b>
<b>The worldwide epidemic of FOCAL DYSTONIA is not some perilous virus or bacteria. The paralysis is the result of misdirection (feel vs. sound) of the conscious mind which is powerfully influenced and reinforced by the mindless instrument. </b><br />
<b><br /></b>
ERIC HYLAND<br />
<br />
<b><i>You cannot sit on the stage and in the audience at the same time.</i></b><br />
<b><i><br /></i></b>
My job is strikingly simple. Those who come to me for help have drifted away from a vivid conscious awareness of the music to a vague conscious awareness of how their playing feels, mechanics, or the instrument. Usually it's all three. Where's the music? NOWHERE!!!<br />
<b>I HELP THEM COME BACK TO THE MUSIC. IT'S THE ONLY THING THAT MATTERS.</b><br />
<br />
ADOLPH HERSETH<br />
<br />
<b><i>When encountering problems technically or musically, first sing (vocally) then buzz (mouthpiece), Transfer the singing and buzzing to the trumpet (instrument).</i></b><br />
<br />
ROGER ROCCO <br />
<br />
<b>THE POWER OF SINGING </b><br />
<b><br /></b>
<b>Arnold Jacobs was a master solfege artist. The result of his high conscious level of musical awareness was a powerful subconscious commitment to the execution of sound. It didn't matter what instrument was in his hands. In addition to the tuba, he played trumpet, trombone, and string bass very well.</b><br />
<br />
<b><i>SING (3x), BUZZ (3x), PLAY (3x) until the conscious commitment to the music is powerful enough to dominate the paralyzing influence of the instrument.</i></b><br />
<b><i><br /></i></b>
<b><i>NOTHING MATTERS BUT THE CONSCIOUS AWARENESS OF AND MENTAL COMMITTMENT TO THE MUSIC. EVERYTHING ELSE IS A DISTRACTION FROM THE MUSIC THAT INEVITABLY LEADS TO PARALYSIS.</i></b><br />
<b><i><br /></i></b>
<b><i>WE MUSIC HAVE A SIMPLISTIC INTELLECTUAL APPROACH TO MOTIVATING THE COMPLEX SUBCONSCIOUS MECHANICAL SKILLS REQUIRED TO PLAY AN INSTRUMENT.</i></b><br />
<b><i><br /></i></b>
<b><i>WHEN WE ATTEMPT TO SUBSTITUE THE CONSCIOUS INTELLECTUAL MIND FOR THE SUBCONSCIOUS REACTIVE MIND, WE ARE CHOOSING WEAKNESS OVER STRENGTH.</i></b><br />
<br />
<i><b>SELF CONFIDENCE IS THE RESULT OF AN EXPECTATION OF SUCCESS, WHICH CAN ONLY BE ACHIEVED BY ESTABLISHING A HISTORY OF SUCCESS. SELF DOUBT IS A SELF INFLICTED WOUND.</b></i><br />
<br />
<b><i>THE GOAL OF PERFECT MASTERY OF AN INSTRUMENT NEVER LEADS TO PERFECTION. THE GOAL OF PERFECT MASTERY OF MUSICAL AWARENESS WILL ALLOW US TO COME CLOSE TO MASTERING THE INSTRUMENT.</i></b><br />
<br />
MIDORI<br />
<br />
<b><i>PURE (TECHNICAL) PERFECTION IS UNOBTAINABLE.</i></b><br />
<br />
ARNOLD JACOBS<br />
<b><i><br /></i></b>
<b><i>I WANT YOU TO HAVE THE MIND OF A CHILD.</i></b><br />
<b><i><br /></i></b>
<b><i>GO FOR THE PRODUCT (SOUND).</i></b><br />
<b><i><br /></i></b>
<b><i>EPILOGUE</i></b><br />
<b><i><br /></i></b>
<b><i>Much to my dismay, paralyzing air and embouchure analysis persists in the educational system worldwide. It dominates all levels of wind instrument pedagogy from the fourth grade beginner to the seasoned professionals. </i></b><br />
<b><i><br /></i></b>
<b><i>Musical awareness (sound) should be dominant but it is overwhelmed</i></b><br />
<b><i>by self analysis and self awareness. The educators argue that musical awareness cannot be communicated to a fourth grader and that complex mechanical awareness is an appropriate substitute. The opposite is true. We must communicate musical awareness without the paralyzing mechanical distraction. We don't need breathing bags or tubes, embouchure magnifying mirrors, cameras, or visualizers. </i></b><br />
<br />
<b><i>THE STUDENTS MUST HAVE A POWERFUL AWARENESS OF THE SOUND THEY WANT TO PRODUCE. IT IS THE JOB OF THE MUSIC TEACHER TO COMMUNICATE THAT AWARENESS. THE SUBCONSCIOUS WILL RESPOND POWERFULLY JUST AS IT DOES FOR ALL AWARENESSES WE EXPERIENCE EVERY MOMENT OF OUR LIVES. A CHILD IS TAUGHT TO SPEAK BY COMMUNICATING THE SOUND OF LANGUAGE AND THEY LEARN TO WALK BY OBSERVING OTHER WALK. </i></b><br />
<b><i><br /></i></b>
<b><i>MUSICAL AWARENESS IS A POWERFUL SUBCONSCIOUS MOTIVATOR OF PHYSICAL MECHANICS BUT CONSCIOUS MECHANICAL ANALYSIS IS A VERY WEAK MOTIVATOR OF MUSIC.</i></b><br />
<br />
<u>THERE CAN BE NO FUNCTION WHEN WE SUBSTITUTE WEAKNESS FOR STRENGTH.</u><br />
<b><i><u></u><br /></i></b>
<i>P. S. September 20, 2016 is the 50th anniversary of the first time, as a 17 years old high school senior, I played for Mr. Jacobs. That day not only changed my life but it has also impacted the lives of countless others who I have worked with since. We are eternally grateful for what you have given us with your generosity and wisdom as a teacher and your role model as a great musician. </i><br />
<i>Thanks Jake! You were a unique gift to us all!</i><br />
<i><br /></i>
<i><br /></i>
<b><i><br /></i></b>
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<b></b><i></i><i></i>Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com1tag:blogger.com,1999:blog-5301079526041772488.post-15206696847457642322015-02-22T16:40:00.001-08:002016-02-17T09:46:23.792-08:00THE EPIDEMIC OF FOCAL DYSTONIA <b>Adolph Herseth</b><br />
<b><i><br /></i></b>
<b><i>No greatness can be achieved if the trumpeter is paralyzed by fear.</i></b><br />
<b><i><br /></i></b>
<b><i>If a trumpeter is fearful when they play, they should consider another line of work.</i></b><br />
<b><br /></b>
<b></b><br />
<b>Roger Rocco</b><br />
<br />
<b>MENTAL COMMITMENT TO MUSIC = PHYSICAL COMMITTMENT TO CREATE IT.</b><br />
<b><br /></b>
<b>WHEN A MUSICIAN BECOMES PARALYZED (FD), IT IS BECAUSE THEY HAVE LOST THEIR MENTAL COMMITTMENT TO THE MUSIC. WHAT FOLLOWS IS THE LOSS OF THEIR PHYSICAL COMMITTMENT TO CREATE IT. WHEN THEY TRY TO CREATE A PHYSICAL COMMITTMENT BY CONSCIOUSLY ANALYZING THEIR PLAYING MECHANICS, FAILURE IS THE ONLY OUTCOME. THE PHYSICAL MECHANICS ARE MUCH TOO COMPLEX FOR THE INTELLECTUAL MIND TO COMPREHEND. WE MUST HAVE THE COURAGE TO CONSCIOUSLY COMMIT TO THE MUSIC RATHER THAN HOW TO PRODUCE IT. WHEN WE DO, WE ACCESS THE POWER OF THE SUBCONSCIOUS MIND RATHER THAN BYPASS IT. AS ARNOLD JACOBS TELLS US,</b><br />
<b><i><br /></i></b>
<b><i> PLAYING WILL BE A JOY</i></b><br />
<b><br /></b>
<b>FEAR<i> is a subconscious state of mind that seemingly protects us from an expectation of physical or emotional harm by motivating paralysis or action. We cannot consciously control fear but we can control how we respond to it. If we respond by removing the conditions that are motivating it, the influence of fear will subside. ATTEMPTING TO ELIMINATE FEAR WITHOUT FIRST REMOVING THE MOTIVATION WILL ONLY INCREASE ITS PARALYZING INFLUENCE. </i></b><br />
<br />
<b>COURAGE<i> is not the absence of fear. It is the will to function in spite of it.</i></b><br />
<b><i><br /></i></b>
<b>DISCIPLINE<i> is the will to do whatever is necessary to accomplish a goal.</i></b><br />
<b><i>Most people never realize their goals because they are paralyzed by their fear of failure.</i></b><br />
<b><br /></b>
<b>RECOVERY<i> from</i> Focal Dystonia<i> is a lifelong process that requires courage, discipline, and the great power of persistence.</i></b><br />
<b><i><br /></i></b>
<b><i>We cannot consciously control our fear because it motivated by the subconscious in anticipation of failure or danger. However, we can control what is motivating our fear by consciously removing what is causing it. </i></b><br />
<b><i><br /></i></b>
<b><i>Fear of failure is the result of an expectation of failure which results from a history of failure. An expectation of success can only result from creating a history of success. In time, all expectations, positive or negative, become powerfully associated with and reinforced by the instrument we are holding. </i></b><br />
<br />
<b><i>When a history of failure has developed over an extended period of time, the subconscious mind begins to interpret the instrument as the source of emotional pain and physical discomfort. However, the protective response of the subconscious is not protective. It sabotages us by motivating paralysis, greater pain and emotional suffering. </i></b><br />
<div>
<br />
<b>THE MUSIC MAN, MEREDITH WILLSON</b><br />
<b><br /></b>
<i><u>WE USE THE THINK SYSTEM HERE! YOU ONLY NEED TO THINK THE TUNE TO HAVE IT COME OUT PERFECTLY CLEAR.</u></i><br />
<b><br /></b>
<b>THERE IS NO REASON FOR YOUR SUCCESS OR FAILURE OTHER THAN YOUR STATE OF MIND!</b><br />
<i><b><br /></b></i>
<i><b>The symptoms of failure are physical but they are the result of failure in the mind. We cannot correct failure in the mind by first trying to correct physical failure. We must have the courage to first commit mentally to the music we want to produce. 0nly then can we be free of the paralyzing influence of the mindless instrument in our hands instrument.</b></i><br />
<i><b><br /></b></i>
<i><b>The precise subconscious physical motor skills necessary to create the music with an instrument will powerfully follow the direction of the powerful conscious musical awareness. This beautiful symbiotic relationship between the conscious and subconscious mind is nothing new in our lives. It allows us to function with ease in the external environment every moment we are awake.</b></i><br />
<i><b><br /></b></i>
<i><b>If you want to make a more powerful physical commitment to playing mechanics, you must first make a more powerful mental commitment to the sound you want to produce. If you try to create physical function without musical awareness, dysfunction is the only possible result.</b></i></div>
<div>
<br /></div>
<div>
<b>SERGIO CAROLINO</b></div>
<div>
<i><b></b></i><i><b><br /></b></i>
<i><b>Mind vs. Metal (or tissue)</b></i>
<i><b></b></i><br />
<i><b><br /></b></i>
<i><b>SOUND MOTIVATES FUNCTION!!</b></i><br />
<b><i><br /></i></b>
<b><i>IT'S JUST THE SINGING!!!</i></b></div>
<div>
<br />
<b><i>THE STRADIVARIUS VIOLIN IN THE HANDS OF ITZHAK PERMAN, THE AMATI CELLO IN THE HANDS OF YO YO MA, THE YAMAHA TUBA IN THE HANDS OF SERGIO CAROLINO, AND THE STEINWAY PIANO AT THE HANDS OF LANG LANG ARE LIFELESS, MINDLESS OBJECTS UNTIL THEY REFLECT THE GREAT MUSICAL MINDS OF THE MUSICIANS PLAYING THEM. THE MOST IMPORTANT INSTRUMENT IS NOT THE ONE IN THE HANDS. IT IS THE ONE BETWEEN THE EARS! </i></b></div>
<b><i><br /></i></b><b><i>THE AWARENESS ON AN INSTRUMENT IS THE HANDS IS OF LITTLE IMPORTANCE COMPARED TO THE AWARENESS OF THE MUSIC IN THE MIND.</i></b><br />
<b><i><br /></i></b>
<b><i>WE SHOULD NOT SEARCH FOR SOUND INSIDE THE INSTRUMENT BECAUSE NO SOUND EXISTS UNTIL IT IS CREATED IN THE MOUTHPIECE AND SENT INTO THE LEADPIPE. </i></b><br />
<b><i><br /></i></b>
<b><i>MEANINGLESS TERMS LIKE FAT AIR, FAST AIR, WARM AIR, OR AIR FLOW ARE DISFUNCTIONAL BECAUSE THE WIND PLAYER HAS VERY LITTLE CONSCIOUS AWARENESS OF AIR WHILE PLAYING. HOWEVER, THE WIND PLAYER CAN HAVE GREAT AWARENESS OF SOUND WHILE PLAYING. FUNCTIONAL TERMS ARE RESONANT SOUND, HEAVY SOUND, LIGHT SOUND, AND SOFT OR LOUD SOUND, I HAVE FOUND THAT TERMS LIKE DARK AND BRIGHT SOUND ARE MUCH TOO VAGUE TO REALIZE UNLESS THEY ARE A DIRECT IMMITATION OF SOME OTHER SOURCE.</i></b><br />
<b><i><br /></i></b>
<b><i>A BRASS INSTRUMENT IS JUST A MINDLESS LENGTH OF TUBING AND A CONE AT THE END OF A CUP MOUTHPIECE. NEITHER THE MOUTHPIECE OR TUBE HAS MUSICAL SOUND OR INTELLIGENCE OF ITS OWN. THE TUBE ALREADY HAS A STATIONARY COLUMN OF AIR THAT MUST BE SET INTO VIBRATION WITH SPECIFIC FREQUENCIES OF SOUND THAT ARE CREATED IN THE MOUTHPIECE. THERE IS VERY LITTLE AIR FLOW SO IT IS NOT NECESSARY TO DISTRACT OURSELVES BY TRYING TO CREATE MOTION OF AIR. TERMS SUCH AS FAST AIR, WARM AIR, FAT AIR, AND </i></b><b><i>FLOWING AIR ARE PARALYZING DISTRACTIONS FROM THE AWARENESS OF SOUND. </i></b><br />
<b><i><br /></i></b>
<b><i>IMAGINATIVE MUSICAL SOUND ORIGINATES AS CONSCIOUS AWARENESS IN THE MIND. IF WE DO NOT INTERFERE WITH PARALYZING INTELLECTUAL ANALYSIS, THE SUBCONSCIOUS MIND WILL MOTIVATE THE COMPLEX PHYSICAL MECHANICS NECESSARY TO PRODUCE THE SOUND IN THE MOUTHPIECE. THE TUBE AND CONE AT THE END OF THE MOUTHPIECE CAN AMPLIFY AND COLOR THE SOUND BUT IT CANNOT CREATE IT! </i></b><br />
<b><i><br /></i></b>
<b><i>EMBOUCHURE ANALYSIS IS ALSO AN UNNECESSARY PARALYZING DISTRACTION FROM THE SOUND. IT IS THE AWARENESS OF SOUND THAT MOTIVATES THE EMBOUCHURE, AIR, TONGUE, AND FINGERS, NOT VISA VERSA.</i></b><br />
<b><i><br /></i></b>
<b><i>SOUND MOTIVATES FUNCTION.</i></b><br />
<b><i><br /></i></b>
<b><i>THE OBJECT IN THE MUSICIAN'S HANDS IS NOT THE REAL INSTRUMENT. THE MUSICIAN HOLDING THE OBJECT IS THE REAL INSTRUMENT. </i></b><br />
<b><i><br /></i></b>
<b><i>IT'S NOT ABOUT SELF AWARENESS. IT'S ONLY ABOUT MUSICAL AWARENESS.</i></b><br />
<div>
<br /></div>
<div>
<b><i>LISTENING TO THE INNER EAR OF YOUR MIND WILL DO ALL THE WORK IF YOU ALLOW IT. IF YOU CONCENTRATE ON LISTENING TO YOUR EXTERNAL EARS, YOUR PLAYING WILL FEEL LIKE YOU ARE, "TRYING TO PUSH A PIANO UP A FLIGHT OF STAIRS".</i></b><br />
<b><i><br /></i></b>
<b><i>WE MUST FIRST ESTABISH A POWERFUL MENTAL AWARENESS OF SOUND BEFORE THERE CAN BE A POWERFUL PHYSICAL COMMITMENT TO CREATE IT. </i></b></div>
<div>
<b><i><br /></i></b></div>
<b><i>WE MUST BE PROACTIVE ABOUT ACHIEVING SUCCESS RATHER THAN REACTIVE WITH OUR RESPONSE TO FAILURE.</i></b><br />
<br />
<b>Arnold (Jake) Jacobs</b><br />
<b><br /></b>
<b><i>I sing the notes in my head as I play them. It doesn't matter how my lip feels or how I feel.</i></b><br />
<b><br /></b>
<b>Adolph (Bud) Herseth</b><br />
<b><br /></b>
<b><i>Transfer the singing (mental) and buzzing (mouthpiece) to the trumpet (instrument).</i></b><br />
<b><i><br /></i></b>
<b><i>Think sound not mechanics. </i></b><br />
<b><i><br /></i></b>
<b><i>Will Scarlett</i></b><br />
<b><i><br /></i></b>
<b><i>Even the most posiive technical thought is still negative.</i></b><br />
<br />
<b>THE ANALOGY OF THE GENERATOR, LIGHT BULB, AND MIRROR</b><br />
<b><br /></b>
<b>We are generators of sound that originates in the conscious imagination and is created in the brass mouthpiece like light in a bulb. The mindless tubing with valves or a slide is only a mirror that receives and reflects sound but it cannot produce it. The real instrument is not the one you are holding. It's the cup on your chops where sound is created. I no longer play a tuba. I play a mouthpiece with a tuba or sometimes a length of tubing with a funnel on the end. It doesn't matter where the mouthpiece is located as long as I'm committed to producing the sound I want. My subconscious mind will faithfully and powerfully respond to my conscious awareness of the sound as long as I don't interfere with paralyzing self analysis and self awareness.</b><br />
<br />
Most of my current teaching involves working with professional and advanced non-professional musicians who have lost their ability to function mechanically to produce musical sounds with an instrument in their hands. All were once successful performers but are now perplexed by the symptoms of paralysis and discomfort that have crept into their playing. I’m always the last person on the list of people they first consult for help.<br />
<br />
Before contacting me, they usually have been deteriorating for several years and have suffered physical discomfort and great emotional pain. Many are on the verge of losing their playing or teaching jobs and are facing the end of their career. <span class="Apple-tab-span" style="white-space: pre;"> </span><br />
<br />
Tragically, many very successful careers are lost because the lack of understanding of what is going on, why it is happening, and not knowing to do about it. Medically prescribed injections are not the answer because there is nothing physically wrong with the body parts involved in playing an instrument. They most often complain about having problems with malfunction of air, embouchure, or tongue. Sometimes, they are experiencing uncontrolled trembling, pain in their throat, jaw, hands or fingers.<br />
<br />
I recall the first lesson of an excellent principal trumpeter who experiencing paralysis. When I open the door to my home, his first words were, “Roger, I have bad news. The doctor just told me there is nothing wrong with my chops.” I replied, “That’s the good news” Virtually everyone who comes for help has applied every pedagogical methodology they know without success. Most often it involves air/embouchure or tonguing analysis. With woodwind players, it frequently involves awareness and analysis hands and fingers. Frequently, the medical community is consulted but since the paralysis and pain is not the result of a medical condition, there never is a positive outcome. The doctors usually are stumped and inform them that their careers are over and they should find something else to do.<br />
<br />
Unfortunately, many doctors think that <b>Focal Dystonia</b> is the result of too much muscular repetition over too much time. If that were true, our hearts would develop the same symptoms.<br />
Although some people do develop an arrhythmia of their heart as they age, it’s usually the result of inadequate use rather than overuse. <br />
<br />
My personal process of recovery has been ongoing for over forty years. That journey has given me a great opportunity to understand the condition, and to help myself and many others.<br />
<br />
Contrary to the misinformed advice that is being offered by the medical and educational communities, there is a solution for recovery. <b>Focal Dystonia</b>, whose primary symptom is paralysis, is a condition with an excellent possibility for recovery.<br />
<br />
<b>Focal Dystonia</b> is technically defined as the involuntary firing of muscle tissues. For instrumental musicians that may be a symptom but most often it’s paralysis of the embouchure, breath, tongue, or fingers. The paralysis makes it impossible to create and send sound to the instrument.<br />
<br />
The usual response is to treat the symptoms of paralysis by making a conscious effort to restore air/embouchure function. However, since the malfunction is being motivated by the subconscious, we cannot treat symptoms of paralysis at the conscious level of awareness. We must understand what is motivating the subconscious to cause paralysis.<br />
<br />
The paralysis of <b>Focal Dystonia</b> is always motivated at the subconscious by the players expectation of failure, emotional pain, and physical discomfort. Recovery begins with the process of altering the expectation of failure to and expectation of success. That can only occur when the player creates a new history of success. The process is simple but requires determination, discipline, and persistence.<br />
<br />
<b>Roger Rocco</b><br />
<i><b><br /></b></i>
<i><b>IF YOU DON'T BECOME THE MASTER OF THE MUSIC, THE MINDLESS BRASS TUBING IN YOUR HANDS WILL BECOME THE MASTER MOTIVATOR OF YOUR PARALYSIS.</b></i><br />
<i><b><br /></b></i>
<i><b>THE FEEL GOOD METHOD DOES NOT FEEL GOOD!</b></i><br />
<i></i><br />
<b><i>FEELING GOOD WHEN YOU PLAY CAN ONLY OCCUR AS A BY-PRODUCT OF PERFORMING WITH A RESONANT SOUND. YOU CANNOT MOTIVATE EFFECTIVE PERFORMANCE BY ATTEMPTING TO FEEL GOOD FIRST. </i></b><br />
<b><i><br /></i></b>
<b><i>SOUND MOTIVATES SUBCONSCIOUS FUNCTION. CONSCIOUS INTELLECTUAL AWARENESS PREVENTS TONE PRODUCTION BECAUSE THE PROCESS IS INCREDABLY COMPLEX AND WE DO NOT HAVE THE INTELLECTUAL CAPACITY TO EXECUTE THE MECHANICS. IF LIFE SUPPORT BECAME AN INTELLECTUAL ENDEVOR, DEATH WOULD BE THE IMMEDIATE RESULT.</i></b><br />
<div>
<br /></div>
<div>
Unfortunately, severe physical discomfort is a powerfully distracting symptom of <b>Focal Dystonia</b>.</div>
Our usual response to pain is to eliminate the pain which is what is going on with everyone who seeks my help. A good friend once told me, <b><i>It feels like I'm trying to push a piano up the stairs when I play</i></b>.<br />
<b><br /></b>
<b>The subconscious is motivating fear, pain, and paralysis in response to an expectation of failure, which is based on a recent history of failure.</b><br />
<b><br /></b>
<b>To eliminate the symptoms, you must eliminate what is motivating them. An expectation of success, based on creating a new history of success, is the medicine I prescribe to everyone.</b><br />
<b><br /></b>
H.A. Vandercook<b> </b><br />
<b><br /></b>
<b><i>Keep it simple.</i></b><br />
<b><i><br /></i></b>
<b><i>If you can sing it, you can play it.</i></b><br />
<b><br /></b>
<b>Adolph Herseth</b><br />
<br />
<b><i>When encountering problems technically or musically, first sing (vocally) then buzz (mouthpiece).</i></b><br />
<b><i>Transfer the singing and buzzing to the trumpet (instrument).</i></b><br />
<br />
<b>Roger Rocco</b><br />
<div>
<br /></div>
<div>
<b>You can not have a high level of musical commitment with a low level of musical awareness.</b></div>
<div>
<b><br /></b></div>
<div>
<b>Limited expectations of success produce limited results.</b></div>
<div>
<b><br /></b></div>
<b><i>When the horn gets in the way, get away from the horn.</i></b><br />
<b><i><br /></i></b>
<b><i>SING BUZZ PLAY</i></b><br />
<b><br /></b>
Once a new history and expectation of success has been established away from the instrument and has been transferred to the instrument, it will no longer have a paralyzing influence on buzzing the sound created in the mouthpiece. The instrument will freely allow the buzzing to be motivated by consciously singing the music mentally while playing the mouthpiece inside the instrument and ultimately...<br />
<br />
<b><i>IT'S JUST THE SINGING!</i></b><br />
<b><br /></b><b>FROM SILENCE TO SOUND</b><br />
<br />
<b><u>VERY OFTEN, THE FIRST SYMPTOM OF FOCAL DYSTONIA IS THE INABILITY TO PRODUCE A STARTING NOTE.</u></b><br />
<br />
<b> Adolph Herseth</b><br />
<br />
<b><i>There’s nothing wrong with your chops (breath, tongue, fingers). Your mind is messing them up.</i></b><br />
<b><i><br /></i></b>
<b><i>Paralysis by Analysis</i></b><br />
<br />
<b>THE CAUSE</b><br />
<br />
The primary cause is the gradual development of a history and expectation of failure triggers a paralyzing protective mechanism in the subconscious mind. In time the expectation of failure and impending doom becomes a conditioned reflex (Pavlov) associated with and reinforced by the instrument.<br />
<br />
We become sabotaged by our subconscious because we always realize our expectations no matter if they are positive or negative.<br />
<br />
<b>Roger Rocco</b><br />
<br />
<b><i>My job is very simple. The musicians who come to me for help have drifted away from their awareness and commitment to the music into self awareness and self analysis. I only need to redirect them back to a powerful awareness and commitment to the musical sounds they want to produce.</i></b><br />
<br />
There are many possible conditions of playing that lead to a paralyzing relationship with the instrument. I refer to the paralyzing relationship as The Hot Stove Syndrome. This condition always results from experiencing too much failure over an extended period of time. I rarely see the syndrome in very young and experienced musicians because there has not been enough time for it to develop. However, I frequently notice it in high school level musicians who have been playing for several years and are influenced by analytical teachers or their analytical perfectionist personalities.<br />
<br />
<b>THE IMPERFECT PURSUIT OF PERFECTION.</b><br />
<br />
The perfectionists personality is never satisfied about anything they accomplish with an instrument in their hands. Gradually, the subconscious mind considers the instrument to be the cause of emotional dissatisfaction.<br />
<br />
The subconscious or reactive mind seeks to protect us from emotional and physical harm by inducing fear, action, or paralysis. When a history of failure has developed with an instrument in the hands, the subconscious mind associates the resulting emotional pain and physical discomfort with the object.<br />
<br />
A great conflict develops between the subconscious reactive mind, which wants the player to remove the instrument from the hands, and the conscious will, which is overriding by continuing to hold it. Unfortunately, the subconscious mind has powerful control over the inner universe of our bodies, so it reacts by causing paralysis of the mechanics of playing.<br />
<br />
<b>COMMON CONDITIONS OF PLAYING THAT LEAD TO THE PARALYSIS OF FD.</b><br />
<br />
1. Focus on self awareness, self analysis, or the instrument.<br />
2. Influence of low level performance either self motivated or externally motivated.<br />
3. Fear of failure and self doubt.<br />
4. Not understand the mechanism of success.<br />
<br />
<b>Arnold Jacobs</b><br />
<br />
<b><i>We cannot master playing an instrument without mastering our awareness and understanding of the music first. That is like trying to learn to speak without first becoming aware of the sound of words.</i></b><br />
<br />
<b>Roger Rocco</b><br />
<br />
<b><i>Sound Motivates Function</i></b><br />
<br />
<b><i>Music is an auditory art form not a mechanical one. We must emphasize sound rather than mechanics in our playing and teaching.</i></b><br />
<br />
<b><i>In our everyday lives, the mechanics of accomplishment are motivated by the accomplishment.</i></b><br />
<b><i>We don’t consciously think about how to pick up a glass and bring it to our mouth. We just do it</i></b><br />
<b><i>beautifully without paralyzing self awareness and self analysis.</i></b><br />
<b><i><br /></i></b>
<b><i>The music tells us everything we need to know. </i></b><br />
<br />
<b>Adolph Herseth</b><br />
<br />
<b><i>Sound is the criterion for how we do this and that.</i></b><br />
<b><i><br /></i></b>
<b><i>Think sound not mechanics. </i></b> <br />
<br />
<b>Shinichi Suzuki</b><br />
<br />
<b><i>We can teach a child how to play an instrument the same way they learned how to speak.</i></b><br />
<br />
<b>THE ENDLESS PROCESS OF RECOVERY</b><br />
<br />
Since the cause of malfunction is the result of drifting away from musical awareness into self awareness, recovery can only be achieved by re-establishing a powerful awareness of the sound we want to produce.<br />
<br />
<b>Adolph Herseth</b><br />
<br />
<b><i>When encountering problems technically or musically, first sing (vocally) then buzz (mouthpiece). TRANSFER THE SINGING AND BUZZING TO THE TRUMPET.</i></b><br />
<br />
Bud says nothing about air/embouchure analysis, tongue, or any other mechanics of playing.<br />
<br />
<b>Arnold Jacobs</b><br />
<br />
<b><i>It is best to be somewhat unconscious of our physical maneuvers but highly conscious of our musical goals.</i></b><br />
<br />
<b>RECOVERY PROCEDURES FOR BRASS PLAYERS.</b><br />
<br />
In my personal playing and teaching, I emphasize external mouthpiece playing over internal mouthpiece playing to avoid the paralyzing influence of the instrument.<br />
<br />
I have developed several alternate instruments (not toys!), that accept a mouthpiece, for the tuba.<br />
<br />
<b>NONE OF THESE ALTERNATE INSTRUMENTS HAS ANY PARALYZING INFLUENCE BECAUSE </b><b>THEY HAVE ALWAYS FREELY ACCEPTED ANY SOUND I CREATE IN THE MOUTHPIECE. </b><br />
<br />
Cone or Funnel<br />
Leadpipe and Funnel<br />
Extended Tube and Funnel<br />
Valveless Tuba<br />
<br />
The <b><i>BERP</i></b> and the Arturo Sandoval <b>Valve Section</b> are also very useful tools to encourage singing and buzzing without the paralyzing influence of an instrument.<br />
<br />
I notice there are many brass players who have a <b style="font-style: italic;">BERP </b>attached<b style="font-style: italic;"> </b>to their leadpipe but unfortunately, it's nothing more than a Christmas decoration because it's used so little.<br />
<br />
Mario Guarneri recommends using the <b><i>BERP</i></b> 50% of the time in practice sessions.<br />
<b><br /></b>
<b>I play the BERP 100% of the time even when my mouthpiece is in the leadpipe rather than next to it. It doesn't matter where my mouthpiece is located no matter if I'm in my studio or on the stage. </b><br />
<b><br /></b>
Roger Rocco<br />
<br />
<b><i>If we don't <u>transcend the instrument</u> with a powerful awareness of sound, that originates in the conscious mind and is realized in the mouthpiece, the instrument will influence us by powerfully motivating paralysis, involuntary motor function, and discomfort. </i></b><br />
<br />
The cone or funnel provides amplification for the buzzing which is an important factor in creating a resonant tone. The physical size of substitute instrument has a psychological influence on the fullness of the sound. I notice that I’m able to produce the most resonant tone buzzing into the valveless tuba. I have removed the valves from a large Boosey and Hawkes, Imperial Eb tuba. Even though the mouthpiece sound sent through the leadpipe, does not extend beyond the first valve casing, the tone sounds like it’s being amplified by the entire instrument.<br />
<br />
I recommend 35-45 minutes of external buzzing daily (music not exercises before transferring the sound to the instrument. I enjoy buzzing along with everything I hear on my favorite recordings. All music should first be learned vocally and on the mouthpiece to avoid creating failure with the instrument.<br />
<br />
<b>Artur Schnabel</b><br />
<br />
<b><i>I always prepare the music mentally before I realize it at the piano.</i></b><br />
<br />
<b>Roger Rocco</b><br />
<br />
<b><i>I gave up tuba playing long ago. Now, I play an 18 ft. mouthpiece with valves.</i></b><br />
<b><i><br /></i></b>
<b><i>Play the mouthpiece inside the instrument, not the instrument.</i></b><br />
<b><i><br /></i></b>
<b><i>The function of a teacher is to create opportunities for success. We must provide those opportunities for ourselves as well as others. I have learned more from my students than they have from me.</i></b><br />
<br />
<b>THE INSTRUMENT TRANSFER UTILIZING THE GOLDEN RATIO, 3:1</b><br />
<br />
1. Sets of singing and buzzing three times, in any combination, before transferring to the instrument.<br />
Repeat sets or once as needed until the transfer is successful. <br />
<br />
2. Transfer the mental singing and buzzing to the instrument as if the instrument does not exist.<br />
<br />
In 1976, I was forced to leave The Seattle Symphony prematurely, and return to Chicago, with my tail between my legs. I had become completely paralyzed and could not perform in the annual<br />
Wagner<i> <b>Ring Cycle</b></i>. For six weeks prior to the start of the<b><i> Ring</i></b>, I spent six weeks in Chicago trying to solve the mystery of what was happening. I desperately practiced 12-14 hours a day but returned to Seattle without even the slightest improvement.<br />
<br />
It’s a three and a half day drive from Seattle to my home in Chicago, so I had a lot of time to think about what had happened. I kept a mouthpiece on the passenger seat and frequently played<br />
<b>Interstate Concertos and Symphonies</b> while driving.<br />
<br />
After a while, it occurred to me that my mouthpiece playing was totally free and that it had always been so. There was nothing wrong with the function of my chops, tongue, or air. I was very puzzled and intrigued by my enlightened realization.<br />
<br />
I decided that when I arrived home, I would pretend the tuba did not exist when I placed the mouthpiece in the leadpipe of the instrument.<br />
<br />
<b>I WAS ABLE TO PLAY THE TUBA FOR THE FIRST TIME IN MONTHS!!!</b><br />
<br />
In fact, I was not playing the tuba. I was playing the mouthpiece inside the tuba and it accepted the sound freely without causing me to become paralyzed. The tuba lost it’s influence because I had successfully transcended it’s paralyzing influence by freely producing precise musical sounds in the mouthpiece that could be accepted rather than rejected by the air column within the horn.<br />
<br />
In all wind instruments, no sound is possible inside the tubing of the instrument until it’s first created in the mouthpiece, double reed, or head joint.<br />
<br />
<b>IT’S VERY IMPORTANT TO UNDERSTAND THAT THE SOUNDS FIRST CREATED IN THE MOUTHPIECE MUST BE SYMPATHETIC WITH THE FREQUENCIES THAT THE AIR COLUMN OF THE INSTRUMENT CAN ACCEPT OR THOSE FREQUENCIES WILL BE REJECTED BY THE INSTRUMENT.</b><br />
<br />
<b>TRANSCENDING THE INSTRUMENT</b><br />
<br />
I suggest practicing with a variety of instruments and mouthpieces to reduce the impact of physical feedback. I find in my own practice, that with the change of equipment comes a renewed and elevated mental commitment to the music. Awareness of feel and the influence of the instrument is greatly diminished when I'm mentally committed to the music.<br />
<br />
<b>CASE STUDY</b><br />
<br />
A friend advanced to the final audition for a principal position with a major American orchestra. Just before his audition, a major malfunction with his instrument made it impossible to play. He was forced to borrow an unfamiliar instrument and perform without preparation.<br />
<br />
When he related the horror story, I told him it actually was a wonderful opportunity. He was challenged to a higher mental commitment to the music and won the position.<br />
<br />
<b>CASE STUDY</b><br />
<br />
As a member of the French Army, trumpeter Maurice Andre was without access to an instrument for six months. However, he did have a mouthpiece so he practiced extensively without the trumpet. When he finally had access to his trumpet, he found that his tone production and general performance had elevated significantly.<br />
<br />
<b>CASE STUDY</b><br />
<br />
As child Arnold Jacobs, spent significant time hospitalized for asthma. However, he practiced his mouthpiece while in the hospital. After being discharged, he always found that his playing would improve.<br />
<br />
Jake first played a bugle in the Boy Scouts. Later, he progressed the trumpet and trombone which was the instrument he decided to settle on. He ended up on the tuba at the age of fifteen, only because his trombone was lost on the car trip from California to the Curtis Institute of Music in Philadelphia where he was awarded a full scholarship. They didn't have a substitute trombone but there was a tuba he could play. He won the principal tuba position with the Boston Symphony three years later.<br />
<br />
<b>The different instruments and mouthpieces meant nothing to Jake because he was only committed to the music he wanted the audience to hear.</b><br />
<br />
Since woodwind players don’t buzz music on their mouthpiece or reed, I ask them to sing vocally and simultaneously finger the instrument to raise their awareness of the music. String and percussion players have a great advantage because the can vocalize simultaneously as they play.<br />
<br />
Glenn Gould stopped giving live performances because his vocalization was distracting to the audience. However, his voice could still be heard faintly on recordings. The same was true of the recordings of Maestro Arturo Toscanini.<br />
<br />
It’s very important to understand that the mental singing of every note must occur simultaneously as the notes are played.<br />
<br />
<b>CASE STUDY</b><br />
<b><br /></b>
I recently has a conversation with a horn player who I knew many years ago when we were students playing in <b>The</b> <b>Civic Orchestra of Chicago. </b>I recall that he was a talented musician but did not stand out among a group of exceptionally skilled horn players in the orchestra. His teacher recommended that he find some exceptional niche he could develop to separate himself from the crowd.<br />
<br />
He decided that he would become a master of the natural horn. Today, he is a world renown soloist who has many wonderful recordings and has taught at several major universities.<br />
<br />
When I remarked that mastering the natural horn brought his playing to the next level, he voiced his agreement. When I said, <b><i>All horns are natural</i></b>, he smiled with a twinkle in his eyes. <br />
<b><br /></b>
<b>Arnold Jacobs</b><br />
<br />
<b><i>I sing the notes in my head as I play them. It doesn’t matter how my lip feels or how I feel.</i></b><br />
<br />
Most of the musicians who come to me for help have developed severe or complete paralysis of their chops, air, or fingers when they play. There is never any paralysis of body parts when they are not holding or playing an instrument.<br />
<br />
When the paralysis is severe, the overwhelming flood of uncomfortable physical feedback from the instrument or their body parts, makes it impossible to consciously focus on the music.<br />
A greater amount of time singing and buzzing must occur away from the instrument.<br />
<br />
The most common paralyzing symptom is the inability to execute a starting note. The reason such paralysis that physical feedback (input) is dominate over awareness of sound, which is what motivates the output to produce it. If there is no conscious awareness of the sound, there is nothing for the subconscious mind to respond to in order to create it.<br />
<br />
In the absence of a powerful conscious awareness of sound, the subconscious attempts to create sound awareness by feel either at the chops or often with the woodwind players, fingers. The subconscious attempts to convert lips or fingers into ears.<br />
<br />
<b>Roger Rocco</b><br />
<br />
<b><i>FEEL and FAIL are four letter words to a brass (woodwind, string, percussion, singer) player.</i></b><br />
<br />
<b><i>SING VOCALLY and BUZZ the mouthpiece externally as many times as necessary until you are able to transfer the singing and buzzing to the instrument. When you can maintain concentration on mentally singing each note as you play it, you will transcend the paralyzing influence of the instrument. </i></b><br />
<br />
To alleviate first note paralysis, raise musical awareness by executing repetitions of vocal singing and buzzing until the paralysis subsides. Freedom from paralysis will always eventually occur with enough repetitions so persistence and discipline are very important. However, the initial release of paralysis will usually be short lived so the procedure must be repeated for an extended period.<br />
<br />
<b>AN EXPECTATION OF SUCCESS CAN ONLY RESULT FROM CREATING A HISTORY OF SUCCESS BASED ON KNOWING HOW TO SUCCEED.</b><br />
<br />
Musicians become paralyzed because they have created a history of failure which also motivates their expectation of failure. <b>We always realize our expectations no matter if they are positive or negative.</b><br />
<br />
<b>Maxwell Maltz</b> (<b><i>Psycho Cybernetics</i></b>) <br />
<br />
<b><i>The mechanisms of success and failure are the same.</i></b><br />
<b><i><br /></i></b>
<b><i><br /></i></b>
<b><br /></b>
<b>IF WE HAVE THE WILL AND DISCIPLINE TO RECOVER, THEN WE MUST HAVE A METHODOLOGY BASED ON AWARENESS OF SOUND, TO TAKE THE TIME TO CREATE IT. RECOVERY IS AN ENDLESS PROCESS BECAUSE WE CANNOT ERASE OUR PAST. WE MUST REPLACE OUR PAST FAILURE BY CREATING NEW SUCCESS MOMENT TO MOMENT, EVERY NOTE, EVERY DAY!</b><br />
<b><br /></b>
<b>SINCE IT REQUIRED CONSIDERABLE TIME FOR THE PARALYSIS OF FOCAL DYSTONIA TO DEVELOP, IT REQUIRES TIME FOR THE PROCESS OF RECOVERY ALLEVIATE IT.</b><br />
<b><br /></b>
<b>Arnold Jacobs</b><br />
<br />
<b><i><u>WE MUST GIVE DOMINANCE TO THE MUSIC, NOT THE MEANS TO PRODUCE IT.</u></i></b><br />
<br />
<b>Adolph Herseth</b><br />
<br />
<b><i><u>TRANSFER THE SINGING AND BUZZING TO THE INSTRUMENT.</u></i></b><br />
<br />
<b><i><u>I RECOMMEND PRACTICING ENTIRE SESSIONS ON THE MOUTHPIECE ALONE TO AVOID HAVING PROBLEMS CREEP INTO YOUR PLAYING. </u></i></b><br />
<b><br /></b>
<b>Roger Rocco</b><br />
<br />
<b><i><u>SELF DOUBT IS A SELF INFLICTED WOUND. RECOVERY MUST BE A SELF MOTIVATED PROCESS.</u></i></b><br />
<b><i><u><br /></u></i></b>
<b><i><u>FOCAL DYSTONIA IS NOT A CAREER ENDING CONDITION WITHOUT A POSSIBLE OPPORTUNITY FOR RECOVERY.</u></i></b><br />
<b><i><u><br /></u></i></b>
<b><i><u>FOCAL DYSTONIA IS A TREATABLE CONDITION IF THE MUSICIAN HAS THE WILL AND DISCIPLINE TO INVEST THE EFFORT AND TIME REQUIRED TO RECOVER.</u></i></b><br />
<b><i><u><br /></u></i></b>
<b><i><u>RECOVERY IS AN ENDLESS PROCESS THAT GRADUALLY BECOMES EASIER TO ACHIEVE </u></i></b><b><i><u>AND MAINTAIN. </u></i></b><br />
<b><i><u><br /></u></i></b>
<b><i><u>WE MUST HAVE THE COURAGE TO ACCEPT OUR MOMENTS OF FAILURE AND TO CELEBRATE OUR MOMENTS OF SUCCESS.</u></i></b><br />
<b><i><u><br /></u></i></b>
<b><i><u>SING BUZZ PLAY</u></i></b><br />
<b><i><u><br /></u></i></b>
<b>Epilogue</b><br />
<b><br /></b>
Our well intentioned music education institutions seek to develop instrumental performance skills quickly by focusing on self analysis, mechanical function, and instruments. A group of educators once argued teaching method to me by stating that technical analysis and instrumental focus is what everyone can understand rather than musical sound. I responded by arguing for the opposite view that the music is perceptive and understandable rather than subconscious mechanical function. We live our lives without any conscious knowledge of the complex mechanics of life support. Yet from birth we are highly sensitive to and aware of sound. Every child recognizes the melody to <b><i>Happy Birthday</i></b> without knowing anything technical about music.<br />
<br />
I often remind teachers of the question they hear most often from their students. They ask, "How does it go?" We learn language because we are exposed to the sound of words not anatomy and breathing lessons. My success as an instrumental teacher has always been the result of communicating what the music should sound like. My limited technical knowledge of the various instruments I taught was always an advantage not a hindrance. Because of their long term exposure, the students always know more about their instruments but I knew much more about the music.<br />
<br />
Today, incredible performance levels that are being achieved by musicians who have little self awareness, mechanical awareness, and don't pay much attention to the instrument in their hands. But they have a vivid and powerful awareness of the music and are completely committed to it.<br />
<br />
<b><i>SET YOUR EMBOUCHURE AND BLOW</i></b> is a mindless shortcut to nowhere.<br />
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<b><i>Endless focus on instrumental performance does not elicit much music. However, bountiful focus on music leads to limitless instrumental performance. </i></b><br />
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The existing antiquated and self perpetuating pedagogy prevents such development and often becomes the poison inducing paralysis. Sadly, I work with such inflicted musicians daily.<b> Recovery</b> is a long and difficult process. <b>Prevention</b> is the best medicine.<br />
<br />
I once lamented to one of my students that the war against traditional analytical pedagogy was a frustrating uphill battle that I could not win alone.<br />
<b><i><u><br /></u></i></b>
He responded, <b style="font-style: italic;">We are soldiers in a small but growing army.</b><br />
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<b>In 2015, we celebrate the 100th birthday of Arnold Jacobs. Without his powerful influence, there would be no music, no blog, no career, and no life.</b><br />
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<b>THE TROOPS THANK YOU AGAIN JAKE! </b><br />
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com3tag:blogger.com,1999:blog-5301079526041772488.post-31902855102578796232014-01-17T14:56:00.002-08:002015-11-17T18:11:17.373-08:00"GO FOR THE PRODUCT" <b>Adolph Herseth</b><br />
<b><i><br /></i></b>
<b><i>Paralysis by Analysis</i></b><br />
<br />
<i><b>Sound is the criterion for how you do this and that</b></i><br />
<i><b><br /></b></i>
<i><b>First sing vocally then buzz the mouthpiece. Transfer the singing and buzzing to the instrument.</b></i><br />
<i><b><br /></b></i>
<i><b>There's nothing wrong with your chops. Your mind is messing them up.</b></i><br />
<i><b><br /></b></i>
<i><b>It's amazing what your chops can do when you get your (analytical) mind out of the way.</b></i><br />
<b><br /></b>
<b>Arnold Jacobs</b><br />
<br />
<b><i>I’m just ordering products (musical sounds).</i></b><br />
<br />
<b><i>Being aware of what sound like is not as important as being aware of what you want to sound like.</i></b><br />
<b><i><br /></i></b><b><i>Your audience does not care how it feels when you play so neither should you. You audience only cares about how you sound, so should you.</i></b><br />
<b><i><br /></i></b>
<b><i>There are two instruments. One in the head and one in the hands. The instrument in the hands is a perfect mirror reflecting the one in the head. </i></b><br />
<br />
<b><i>The instrument provides a readout of our thoughts.</i></b><br />
<b><br /></b>
<b>Roger Rocco</b><br />
<br />
<b><i>The object in your hands is not the real instrument. YOU are the real instrument.</i></b><br />
<b><i><br /></i></b>
<b><i>Sound motivates function. </i></b><br />
<b><i><br /></i></b><b><i>Your instrument is already full of air but it has no sound. Fill it with sound.</i></b><br />
<b><i><br /></i></b>
<b><i>That's just a hollow length of brass tubing at the end of your mouthpiece. It has no intelligence or sound of it's own, but it already is full of air. You must fill the tube with musical sounds that originate as conscious awareness in your mind and are created in the mouthpiece. It is not necessary to intellectually understand the mechanics of how to accomplish tone production. Your conscious awareness of the sound will motivate your subconscious mind to learn and execute the mechanics if it's given enough time. </i></b><br />
<b><i><br /></i></b><i style="font-weight: bold;">You don't need to study or be aware of your lips or breath when you</i><i><b> play</b></i><i style="font-weight: bold;"> just as it is not necessary to be consciously aware of your vocal chords or air when you speak. Your subconscious mind will realize the complex mechanics necessary to produce sound if you don't consciously interfere. </i><br />
<b><i><br /></i></b><b><i>We can only have a vague awareness of embouchure and air while playing. However, we can easily have a vivid awareness of the sound we want to produce. </i></b><br />
<b><i><br /></i></b>
<b><i>Conscious self awareness and self analysis will cause you to bypass the power of your subconscious mind. Paralysis is the inevitable result. </i></b><br />
<b><i><br /></i></b>
<b><i>The audience does not care how you feel when you play so you should not care either. However, the audience does care about how you sound and so should you.</i></b><br />
<br />
<i><b>Feeling good when you play is a by-product of playing correctly. You cannot motivate effective performance by attempting to feel good first.</b></i><br />
<b><br /></b><b><i>If you don't influence the instrument with a vivid conscious awareness of the music, it will influence you with uncomfortable feedback and paralysis.</i></b><br />
<b><br /></b>
<b><i>The only thing that matters is your mental commitment to the music. Your subconscious mind will respond faithfully and powerfully to motivate whatever playing mechanics are required to realize a musical commitment when an instrument is in your hands. </i></b>
<b><br /></b><br />
<br />
<b><i>We cannot motivate effective mechanical function by receiving messages and sending messages simultaneously. Our nervous systems function most efficiently in DC rather than AC. It's like a one way street. </i></b><br />
<b><br /></b><b><i>You can sing without buzzing but you cannot buzz without singing.</i></b><br />
<b><i><br /></i></b><b><i>Play your mouthpiece as if the instrument does not exist. The instrument is nothing more than a mindless length of brass tubing that is an extension of the mouthpiece. </i></b><br />
<b><i><br /></i></b>
<b><i>The sound that emerges from the bell of your instrument is an honest reflection of the sound that begins as a conscious awareness in the brain and is realized in the mouthpiece.</i></b><br />
<b><i><br /></i></b><b><i>All my playing is on the mouthpiece alone. The only thing that varies is what is on the end of the stem.</i></b><br />
<b><i><br /></i></b><b>H. A. Vandercook</b><br />
<b><i><br /></i></b>
<b><i>Keep it simple.</i></b><br />
<b><i><br /></i></b>
<b><i>If you can sing it, you can play it.</i></b><br />
<b><i><br /></i></b>
<b>Eric Hyland</b><br />
<b><br /></b>
<b><i>You cannot sit on the stage and in the audience at the same time.</i></b><br />
<b><br /></b>
<b>Maurice Andre </b><br />
<br />
<b><i>Brass players are much too concerned about their embouchure and to little concerned about how they should sound. </i></b><br />
<br />
Jake first heard me play in 1966 when I was 17 years old. After listening for about a half hour he said, “You sound like you have already been studying with me for three years.” At the time, I didn’t understand the significance of his statement. Later, I realized that I actually had been studying with him for three years. In my personal practice, I was totally committed to imitating his sound every day.<br />
<br />
I was very fortunate that there were no other music teachers preaching air and embouchure analysis. I focused only on trying to sound like Jake. Sound awareness became the only factor motivating my development as a young tuba player and later as a teacher.<br />
<br />
<b>Arnold Jacobs</b><br />
<br />
<b><i>The key to playing an instrument successfully can be found in speech.</i></b><br />
<b><i><br /></i></b>
<b><i>We must give dominance to the music over our awareness of what we are doing physically or the instrument.</i></b><br />
<br />
<b>Shinichi Suzuki</b><br />
<br />
<b>We can teach a child how to play an instrument the same way they learned how to speak, which is the imitation of sound.</b><br />
<br />
What motivates everyone to create language is their awareness of the sound of words. Over time, the ability to talk occurs without any conscious knowledge of the mechanics of speech.<br />
<br />
<b>THE COMPLEX MECHANICS OF SPEECH ARE EXECUTED PRECIOUSLY BY OUR SUBCONSCIOUS RESPONDING TO OUR VIVID CONSCIOUS AWARENESS OF WORDS. </b><br />
The mechanics required to produce sound on any instrument are much to complex to be motivated by our conscious intellect. We must motivate the power of the subconscious mind to provide the necessary motor function.<br />
<br />
<b>OUR VIVID CONSCIOUS AWARENESS OF THE SOUND WE WANT TO PRODUCE MUST DOMINATE OUR THOUGHTS OTHERWISE WE WILL BECOME PARALYZED. </b><br />
<br />
Virtually every musician who comes to me for help has lost their ability to function because their conscious awareness has become dominated by how they feel physically, mechanics of playing, or the instrument.<br />
<br />
<b><i>FOCAL DYSTONIA is a paralyzing condition (Val Salva) that is motivated by the subconscious mind in response to the negative conditioning associated with the instrument. If the player experiences too much failure, the resulting anxiety and physical discomfort becomes associated with and reinforced by the instrument. The subconscious reacts the same as it does to any harmful or unpleasant situation by causing paralysis. The instrument becomes a hot stove.</i></b><br />
<b><i><br /></i></b>
<b><i>FOCAL DYSTONIA</i> has become a common diagnosis for mechanical malfunction or paralysis. Unfortunately, it is described as an incurable or untreatable condition that is career ending. Too many wonderful musicians have given up their playing careers because they are not aware that FD is treatable and that mechanical function can be restored. Almost all of my teaching now involves helping paralyzed musicians begin the process of recovery.</b><br />
<b><br /></b>
<b>The process of recovery is endless. I'm 40 years into mine. I describe the process like being pursued by a tiger which is fatal only if you don't outrun it.</b><br />
<b><br /></b>
<b>I outrun the tiger every time the instrument is in my hands by making a mental commitment to the music by singing every note as I play it. This allows me to transcend all uncomfortable physical feedback reinforced powerfully by the instrument. How I feel physically or emotionally or the instrument mean nothing. It's only the music that matters. </b><br />
<b><br /></b>
<b>My vivid mental commitment to the music always motivates my subconscious to do whatever is necessary to realize it with the instrument. The only time it doesn't work is when my musical awareness is not accurate, I run out of breath, I use an incorrect fingering, or a valve malfunctions. </b><br />
<b><br /></b>
<b>If I don't have a vivid and accurate conscious awareness of every note, my subconscious will attempt to substitute ineffective feel awareness for the weak or missing auditory awareness.</b><br />
<b><br /></b>
<u><b>PARALYZING FOCAL DYSTONIA IS THE RESULT OF NOT HAVING A MUSICAL AWARENESS IN THE CONSCIOUS MIND THAT THE SUBCONSCIOUS CAN RESPOND TO. NOTHING MORE! </b> </u><br />
<b><br /></b>
<b>Arnold Jacobs</b><br />
<br />
<b><i>I want you to have the simplistic mind of a child not an intellectual adult.</i></b><br />
<b><i><br /></i></b>
<b><i>I sing the notes in my head as I play them, It doesn’t matter how my lip feels or how I feel.</i></b><br />
<b><i><br /></i></b>
<b><i>I always believe that it is best to be somewhat unconscious of our physical maneuvers but highly conscious of our musical goals. </i></b><br />
<b><i><br /></i></b>
<b><i>I don’t care if everything you are doing is wrong if your playing sounds good.</i></b><br />
<br />
The logical conclusion of that statement must be that if your playing sounds good, you cannot be doing anything wrong.<br />
<br />
Over the years, many of my most successful students have had their playing destroyed or damaged by other teachers and clinicians who tell them they have an incorrect embouchure or breathing problems. <br />
<br />
Fortunately, I have always helped them recover by restoring their conscious commitment to the sound.<br />
<br />
<b>Roger Rocco</b><br />
<br />
<b><i>Your subconscious mind will respond faithfully and powerfully to execute your vivid conscious awareness of the sound you want to produce.</i></b><br />
<b><i><br /></i></b><b><i>A vivid conscious awareness of the sound you want to produce is achieved when you have a powerful mental commitment to singing each note in your mind as you play it. </i></b><br />
<b><i><br /></i></b><b><i>If you are not fully committed to a vivid awareness of the sound you want to produce, the instrument will have a powerful paralyzing influence on your subconscious mind because you will attempt to play by feel. </i></b><br />
<b><i><br /></i></b>
<b><i>Feel and fail are four letter words to a brass player.</i></b><br />
<b><i><br /></i></b>
<b><i>Attempting to play by the sense of feel is like trying to drain a swimming pool with a straw or driving the wrong way down a one way street.</i></b><br />
<br />
<b><i>You must be an honest musician because you have a lie detector in your hands. </i></b><br />
<br />
We get into trouble when our awareness of the sound is vague or does not exist. Since there is no auditory awareness to respond to, the subconscious mind reacts to create sound awareness using the sense of feel. <b>The mouthpiece is on the lips, so the subconscious mind will attempt to convert them into ears if there is no awareness of sound in the inner ear of the conscious mind</b>. The lips are quite capable of producing sound but they are very poor detectors of sound.<br />
<br />
The unfortunate result of attempting to play by feel is that paralysis is inevitable. Since there is no auditory awareness there is nothing for the subconscious mind to respond to. <br />
<br />
<b>Robert Collier</b> (<b><i>The Secret of the Ages</i></b>)<br />
<br />
<b><i>The conscious mind is the gateway accessing the subconscious. where the real power lies. </i></b><br />
<br />
<b>Mark Douglas</b> (<b><i>Trading in the Zone</i></b>)<br />
<br />
<b><i>The zone is the state of mind necessary to create an accomplishment.</i></b><br />
<br />
<b>Arnold Jacobs</b><br />
<br />
<b><i>Go for the product. The product is not blowing or fingering. It's musical sound.</i></b><br />
<br />
With an instrument in our hands, the product is never blowing, fingering, or other physical maneuvers. The mechanics required to create sound with an instrument are much too complex for anyone to motivate by conscious intellect. We don’t have the intelligence or awareness of our internal bodies to motivate such complex motor function.<br />
<br />
<b>Roger Rocco</b><br />
<br />
<b><i>When we attempt to create motor function by using conscious intellect, we bypass the great power of the subconscious mind and failure in inevitable. Computers were developed to compensate for the weakness of our conscious intellect. </i></b><br />
<b><i><br /></i></b>
<b><i>It wasn't necessary to study your vocal chords to learn how to speak. It is not necessary to study your lips to learn how to produce musical sounds. In both instances, the sound of words or music motivate mechanical function.</i></b><br />
<b><i><br /></i></b><b><i>The music tells us everything we need to know because it will motivate the power of our subconscious mind.</i></b><br />
<b><i><br /></i></b>
<b><i>If our powerful subconscious mind stopped maintaining life support, we would die immediately because we could not replace it with weak conscious intellect. </i></b><br />
<br />
<b><u>CONSCIOUS MUSICAL IMAGINATION IS A POWERFUL MOTIVATOR OF SUBCONSCIOUS MECHANICAL FUNCTION. </u></b><br />
<b><u><br /></u></b>
<b><u>INTELLECTUAL ANALYSIS IS A POWERFUL DESTROYER OF SUBCONSCIOUS MECHANICAL FUNCTION BECAUSE THE INTELLECTUAL MIND IS TOO WEAK AND UNINFORMED TO EXECUTES SUCH COMPLEX MOTOR SKILLS. </u></b><br />
<b><br /></b>
<b>Meredith Willson</b> (<b>“The Think System”</b> from <b><i>The Music Man</i></b>)<br />
<br />
<b><i>You only have to think the tune to have to come out perfectly clear.</i></b><br />
<br />
<b>Adolph Herseth</b><br />
<br />
<b><i>When encountering problems technically or musically, first sing (vocally) then buzz (mouthpiece). Transfer the singing and buzzing to the horn.</i></b><br />
<b><br /></b><b>Roger Rocco</b><br />
<br />
<b><i>SING BUZZ PLAY</i></b><br />
<br />
The most important concept I learned from Herseth, Jacobs, and Kleinhammer was that the real challenge when playing an instrument is mental not physical. They had a powerful mental commitment to the music which resulted in extraordinary sounds emerging from their bells.<br />
<br />
We must first establish the state of mind that will motivate the physical. There are so many with instruments in their hands but there are so few who can function well. The discrepancy can only be explained as a difference in the mind of those who can and those who cannot function well.<br />
<br />
<b>THE HOLY BRASS GRAIL</b><br />
<br />
The paralysis that results from our lack of musical awareness has a very simple treatment which has nothing to do with mirrors or breathing devises.<br />
<br />
<b>WE MUST ESTABLISH AND MAINTAIN A VIVID CONSCIOUS AWARENESS OF THE SOUND OF EVERY NOTE AS WE PLAY IT.</b><br />
<br />
We only need to have the courage to allow our awareness of the sound to motivate the mechanics necessary to play.<br />
<br />
The mouthpiece is a powerful tool because it encourages mental awareness (singing) of the music and tone production if played loudly. The player will be encouraged to do whatever is necessary to provide the amplification ordinarily supplied by the instrument. I encourage brass players to use a plastic funnel as a bell to amplify their mouthpiece playing. It makes the sound more resonant and tone production is a somewhat easier.<br />
<br />
<b>Arnold Jacobs</b><br />
<b><br /></b>
<b><i>The instrument only amplifies and colors the sound which is created in the brain and realized in the mouthpiece. The instrument has no sound of it's own.</i></b><br />
<b><i><br /></i></b>
<b><i>I was a successful brass player until the first teacher came along.</i></b><br />
<b><br /></b>Jake's first experience as a brass player occurred when he came home from <b><i>The Boy Scouts</i></b> with a valveless bugle in his hands. He had offered to learn the instrument for his troop. His mother was a trained musician but she new nothing about playing brass instruments. She simply played the notes on the piano and Jake imitated what he heard.<br />
<br />
That simple beginning had a powerful impact on his development and ultimately on the many brass players who have been influenced by his playing and teaching.<br />
<b><br /></b>
<b>Roger Rocco</b><br />
<b><br /></b>
<b><i>I gave up tuba playing long ago. Now I play an 18 ft. mouthpiece with valves.</i></b><br />
<b><br /></b>
<b><i>The mouthpiece is a powerful tool because playing it without the instrument encourages mental singing and tone production, </i></b> <b><br /></b><br />
<b><br /></b>
<i><b>The function of the instrument is limited to amplifying and coloring the sound that is created in the mouthpiece. It has no sound of its own. </b></i><br />
<b><br /></b>
<b><i>The frequency of the sound created in the mouthpiece must be precisely accurate otherwise the air column within the instrument will reject it.</i></b><br />
<b><br /></b>
<b><i>It's our vivid conscious awareness of WHAT we want to sound like that's important. We must have the courage to allow the great power of the subconscious mind to motivate HOW to create it. </i></b><br />
<b><br /></b>
<b>THE GOLDEN RATIO (3:1)</b><br />
<br />
To elevate their musical awareness, I encourage brass players to sing vocally and buzz musical phrases 3 times (any combination of singing and buzzing) externally before transferring to the instrument. The sets may be repeated as necessary to maintain mental focus by singing the music while playing.<br />
<br />
<b>NOTHING MATTERS BUT A VIVID AWARENESS OF AND COMMITMENT TO THE SOUND WE WANT TO PRODUCE. THE INSTRUMENT IN OUR HANDS WILL HONESTLY REFLECT THE LEVEL OF OUR COMMITMENT. </b><br />
<br />
Self awareness and paralyzing self analysis leads us to the <b><i>Witches Castle</i></b> where we are plagued by <b><i>flying monkeys</i></b> and the <b><i>Wicked Witch of the West</i></b>.<br />
<br />
<b><i>The Yellow Brick Road</i></b> will lead us to<b><i> Emerald City</i></b> where.......<br />
<br />
<b><i>IT'S JUST THE SINGING AND BUZZING!</i></b><br />
<b><i><br /></i></b>
<b><i>IT'S JUST THE SINGING AND BUZZING!</i></b><br />
<b><i><br /></i></b>
<b><i>IT'S JUST THE SINGING AND BUZZING! ..... EVERY NOTE, EVERY DAY!</i></b><br />
<b><i><br /></i></b>
<b><i><br /></i></b>
<b><i>I EMPHATICALLY ENCOURAGE ALL INSTRUMENTALISTS AND VOCALISTS TO REJECT THE SELF ANALYSIS AND SELF AWARENESS THAT IS PARALYZING THEM.</i></b><br />
<b><i><br /></i></b><b><i>YOUR CONSCIOUS COMMITMENT TO THE MUSIC WILL MOTIVATE AND GUIDE YOUR SUBCONSCIOUS MIND TO PROVIDE THE MECHANICAL FUNCTION NECESSARY TO REALIZE IT WITH AN INSTRUMENT OR THE VOICE.</i></b><br />
<b><i><br /></i></b>
<b><i>COME BACK TO THE MUSIC BECAUSE IT TELLS US EVERYTHING WE NEED TO KNOW.</i></b> <b><br /></b>
<b><br /></b>
<br />
<b><br /></b><b> </b><br />
<br />
<br />
<br />
<br />
<br />
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<br />Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com1tag:blogger.com,1999:blog-5301079526041772488.post-4021932344580346542013-04-19T07:57:00.000-07:002014-01-16T05:47:40.003-08:00THE PARALYZING IMPACT OF AIR AND EMBOUCHURE ANALYSIS<b>Adolph Herseth</b><br />
<b><i><br /></i></b>
<b><i>There is nothing wrong with your chops. Your mind is messing them up.</i></b><br />
<br />
<b><i>Paralysis by Analysis.</i></b><br />
<b><i><br /></i></b>
<b><i>When encountering problems technically or musically, first sing (vocally) then buzz (mouthpiece).</i></b><br />
<b><i>Transfer the singing and buzzing to the instrument.</i></b><br />
<br />
<b>Arnold Jacobs</b><br />
<br />
<b><i>I believe that it is best to be somewhat unconscious of our physical maneuvers but highly conscious of our musical goals.</i></b><br />
<br />
<b><i>We must not give dominance to the instrument or our various body parts. We must give dominance only to the music.</i></b><br />
<br />
<b>Robert Dorer </b><br />
<b><br /></b>
<b><i>You have to turn up the volume on the trumpet in your head.</i></b><br />
<b><br /></b>
<b>Roger Rocco</b><br />
<b><br /></b><i><b>THE MUSIC TELLS US EVERYTHING WE NEED TO KNOW</b></i><br />
<b><i><br /></i></b><b><i>SING BUZZ PLAY</i></b><br />
<b><i><br /></i></b>
<b><i>My challenge as an instrumental teacher is very, very simple. The instrumental musicians who come to me for help with there inability to function have drifted away from their dominant awareness of the music to </i></b><b>to paralyzing self awareness. I ONLY NEED TO DIRECT THEM BACK TO THE MUSIC. </b><br />
<b><br /></b>
<b>In over forty-five years of teaching, no young brass or woodwind player has ever asked me one question about air or embouchure. The question I have heard quite often is, "How does it go?"</b><b>I have great success raising their awareness of how the music should sound.</b><br />
<b><br /></b>
<b>Many experienced brass or woodwind players think, or have been told, they have air or embouchure malfunction. I have never encountered a single wind player who actually has a problem with air, embouchure, tongue, or fingers. Their paralysis is always the result of distracting self awareness in their conscious mind. </b><br />
<b><br /></b>
<b>A VIVID CONSCIOUS AWARENESS OF MUSICAL SOUND IS THE ULTIMATE DISTRACTION FROM PARALYZING SELF AWARENESS. </b><br />
<b><br /></b>
<b>THE BRASS TRILOGY</b><br />
<br />
<b><i>1. There is no reason for success or failure other than our state of mind.</i></b><br />
<i><br /></i>
<b><i>2. Sound motivates function.</i></b><br />
<i><br /></i>
<b><i>3. It’s just the singing.</i></b><br />
<i><br /></i>
<b><i>Self doubt is a self inflicted wound that results from an expectation of failure. We always realize our expectations. </i></b><br />
<b><i><br /></i></b><b><i>Courage is the first step toward greatness.</i></b><br />
<b><i><br /></i></b>
<b><i>Courage is not the absence of fear. It's the will to function in spite of it.</i></b><br />
<b><i><br /></i></b>
<b><i>In over forty-five years of teaching, no inexperienced young wind player has ever asked me one question about air or embouchure. However, countless more experienced musicians have said that they have air or embouchure malfunction because someone told them so.</i></b><br />
<br />
Much of my current teaching is directed to professional brass and woodwind players worldwide who have lost their ability to function. They have been told by other musicians, teachers, and the medical community, that they have<b> Focal Dystonia</b>, an incurable neurological condition.
Sometimes they are needlessly prescribed injections into their embouchure.<br />
<br />
With the exception of some woodwind players who experience paralysis in their hands, most wind players experience the symptoms of tongue, air, or embouchure malfunction. Often they are advised by teachers or the medical community that they cannot continue their career.<br />
<br />
<b>THE MORE A MUSICIAN CONSCIOUSLY ATTEMPTS TO CORRECT THEIR SYMPTOMS OF FAILURE, THE WORSE THEIR PARALYSIS BECOMES. IN EVERY INSTANCE, THEY HAVE CONSCIOUSLY ANALYZED THEIR TONGUE, EMBOUCHURE, AIR, OR HANDS UNTIL THEY BECAME PARALYZED.
TRAGICALLY, PARALYZING SELF ANALYSIS IS PRESCRIBED AND ENCOURAGED BY MANY TEACHERS AND MUSIC SCHOOLS WORLDWIDE.</b><br />
<br />
When giving a lecture or masterclass, I frequently ask attendees if they think they have air or embouchure problems or if they have been told they have problems. I’m not surprised that about one third of the musicians in the group respond affirmatively. I always assure them that there is nothing wrong with their malfunctioning body parts.
Their physical symptoms of failure are the result of a problem with their conscious state of mind.<br />
<br />
<b>I HAVE NEVER ENCOUNTERED ANY WIND PLAYER WHO HAD ANYTHING PHYSICALLY WRONG WITH THEIR EMBOUCHURE, FINGERS, TONGUE, OR ABILITY TO EXPEL AIR. HOWEVER, I HAVE ENCOUNTERED </b><b>MANY MUSICIANS WHO THINK THEY HAVE SOMETHING PHYSICALLY WRONG. THEIR PHYSICAL SYMPTOMS OF FAILURE ARE THE RESULT OF AN INEFFECTIVE STATE OF MIND.</b><br />
<b><br /></b>
Several years ago a professional trumpet player contacted me regarding his "embouchure dystonia".<br />
His first words just before his initial lesson were, "Roger, I have bad news. I have just returned from the doctor. He told me there is nothing physically wrong with my chops."<br />
<br />
<b>I replied, "That's the good news!" </b><br />
<br />
A teacher once told me that if I could cut the tongue out of my mouth, I would be a good brass player. Yes, my tongue was not functioning well to articulate notes playing the tuba. However, I had no problems when I used my tongue to talk or chew food.<br />
<br />
<b>THERE WAS NOTHING PHYSICALLY WRONG WITH MY TONGUE. </b><br />
<br />
Another teacher noticed that I was not breathing well so he told me to sit in front of a mirror and observe the expansion and contraction of my chest and stomach. A week later at my next lesson, I told him that the visual analysis he had prescribed, paralyzed me to the point that I could barely play. He angrily exclaimed that if I didn’t do the visual analysis, I would never play.<br />
<br />
<b>I WAS QUITE HEALTHY, SO IT WAS OBVIOUS THERE WAS NOTHING PHYSICALLY WRONG WITH MY ABILITY TO INHALE OR EXPEL AIR FROM MY LUNGS.</b><br />
<br />
Still another teacher told me that I had embouchure problems because there wasn’t enough room between my upper lip and nose to shift the mouthpiece 2/3 upper lip-1/3 lower lip. He told me to cut the upper rim of my mouthpiece so there would be room to move it higher on my face.<br />
<br />
<b>THERE WAS NOTHING PHYSICALLY WRONG WITH WHERE I COMFORTABLY PLACED THE MOUTHPIECE ON MY LIPS WITHOUT SHIFTING UP OR DOWN. </b><br />
<br />
<b><i>There is plenty of air at your lips when you play cracked (“rejected”) notes.</i></b><br />
<br />
<b><i>You are an expert breather. You have been breathing to sustain your life for a long time.</i></b><br />
<br />
<b>Arnold Jacobs</b><br />
<br />
<b><i>The key to playing well is found in speech.</i></b><br />
<br />
No child studies their breathing , tongue manipulation, or vocal chords in order to say words. Their ability to speak is motivated by their awareness of the sound of words.<br />
<br />
<b><i>It’s the conscious awareness of the sound of words that motivates the subconscious mind to execute all the physical mechanics that are required to speak.</i></b><br />
<br />
<b>THE DETECTABLE vs THE UNDETECTABLE ELEMENTS OF PLAYING</b><br />
<br />
We are all familiar with the <b>“toys”</b> many brass teachers use to detect air and embouchure. They include embouchure magnifying mirrors, clear plastic mouthpieces, embouchure visualizing rims, bags, balloons, tubes, respirometers, and other medical devices.<br />
<br />
<b><i>In all my years as a professional musician and teacher,I have never once observed a competent brass player using any visual or mechanical devises.</i></b><br />
<br />
The only brass players I have seen using them are those who are struggling to play.
These devices are useless because they attempt to substitute weak conscious awareness of playing mechanics for a powerful conscious awareness of sound.<br />
<br />
The subconscious mind has complete awareness and command of all the mechanical skills that are necessary to play an instrument or do anything else. Those skills are motivated by sound not paralyzing analysis.
To motivate complex mechanical function the subconscious reactive mind is much more powerful than the conscious intellectual mind. A flea has no intellect yet it can execute great mechanical skill in order to fly. Our subconscious mind skillfully execute thousands of commands to our various body parts to sustain life, walk, or talk .<br />
<br />
<b><i>Substituting weak conscious intellect for powerful subconscious function inevitably results in failure.</i></b><br />
<br />
We must not bypass the immense power of the subconscious reactive mind by attempting to substitute with weak conscious intellect.
We cannot detect motion or pressure of air, muscular manipulations, or frequency of pitch using the sense of feel which is relatively weak compared to the senses of sight or sound.<br />
<br />
To an extent, we can detect air flow and pressure away from playing by blowing on our hands or into a mechanical device.
However, there is very little ability to detect air flow or pressure while playing. We have great ability to detect sound as we play. Awareness of sound is a powerful motivator mechanical function.
<br />
<br />
<b><i>Feel and fail are four letter words to a brass player.</i></b><br />
<br />
<b><i>Attempting to play by feel is like trying to empty a swimming pool with a straw.</i></b><br />
<br />
<b><i>When you try to play by feel, you are going the wrong way down a one way street.</i></b><br />
<br />
<b>Arnold Jacobs</b><br />
<br />
<b><i>We cannot motivate function through the use of sensory symptoms. We must motivate function through motor (muscular) systems.</i></b><br />
<br />
The use of mechanical <b>“toys”</b> attempts to bring awareness of playing mechanics to the sense of sight. There is an important reason why there are no mechanical devises or mirrors in my studio.<br />
<br />
<b>WE CANNOT PLAY AN INSTRUMENT BY MOTIVATING THE SENSES OF SIGHT OR FEEL. OUR GOAL PLAYING AN INSTRUMENT IS TO PRODUCE SOUND. AWARENESS OF SOUND MUST BE THE MOTIVATING ELEMENT. WE HAVE GREAT POTENTIAL FOR AWARENESS OF SOUND IN OUR IMAGINATION. </b><br />
<b><br /></b>
<b>THE SOUND THAT WE PRODUCE EXTERNALLY WITH AN INSTRUMENT MUST ORIGINATE INTERNALLY IN OUR IMAGINATIVE MIND. IT IS VERY IMPORTANT THAT WE HAVE THE COURAGE TO FOCUS PRIMARILY ON THE SOUND OF THE INTERNAL INSTRUMENT. </b><br />
<b><br /></b>
<b>IF WE ARE LISTENING TOO INTENTLY THE EXTERNAL INSTRUMENT, WE WILL ATTEMPT TO CREATE FUNCTION WITH SENSORY AWARENESS. FAILURE WILL BE THE INEVITABLE RESULT BECAUSE </b><b>ONLY SOUND AWARENESS WILL MOTIVATE FUNCTION.</b><br />
<br />
Some teachers use the sense of sight by using mechanical devises to distract the student from the paralysis resulting from their intellectual analysis. I have found that non-musical mechanical devises take the player further away from the sound rather than bring them closer to it.<br />
<br />
<b><i>All of the devises in my studio are instruments that function only to create musical sounds. Their purpose is not to become more aware of air or body parts.</i></b><br />
<br />
Awareness of sound is the ultimate distraction from paralyzing analysis because it directly
and powerfully motivates the mechanical skill required to produce sound.<br />
<br />
<b>Adolph Herseth</b><br />
<br />
<b><i>Think sound not mechanics.</i></b><br />
<br />
<b>Roger Rocco</b><br />
<br />
<b><i>Sound motivates function.</i></b><br />
<br />
<b><i>Imagination is much more powerful than intellect.</i></b><br />
<br />
<b>IMAGINATION vs. INTELLECT</b><br />
<br />
<b>Arnold Jacobs</b><br />
<br />
<b><i>We can have an intellectual understanding of the music but we must not be intellectual about how to produce it.</i></b><br />
<br />
<b><i>We must have the (non-intellectual) mind of a child.</i></b><br />
<br />
<b><i>Our minds must focus on telling a musical story.</i></b><br />
<br />
<b><i>The product is musical sound not mechanical function. Go for the product.</i></b><br />
<br />
<b>Roger Rocco</b><br />
<br />
<b><i>Computers were developed by powerfully imaginative minds to compensate for weaker intellectual minds.</i></b><br />
<br />
Albert Einstein was an average student intellectually but he had a vivid conscious imagination. Imagination is a very powerful force because it motivates the power of the subconscious mind. When creating motor function, conscious intellect bypasses the power of the subconscious.<br />
<br />
<b>Robert Collier (<i>The Secret of the Ages</i>)</b><br />
<br />
<b><i>The conscious mind is the gateway to the power of the subconscious.</i></b><br />
<br />
<b>H. A. Vandercook</b><br />
<br />
<b><i>If you can sing it, you can play it.</i></b><br />
<br />
<b>Arnold Jacobs</b><br />
<br />
<b><i>I sing the notes in my head as I play them. It doesn’t matter how my lips feels or how I feel.</i></b><br />
<br />
<b><i>There are acoustical laws that must be obeyed. We must send frequencies to the instrument that it can respond to. We must sing the music in our head while playing.</i></b><br />
<br />
<b>IMAGINATIVE MENTAL SINGING vs. CONSCIOUS INTELLECTUAL ANALYSIS</b><br />
<br />
Conscious intellectual analysis with mirrors and optical devises motivates the senses to transmit information from the external tissues to the brain (input). Since the brain is focused primarily on receiving weak information through sensors, output diminishes so there is little mechanical function. Motor (muscular) function is motivated by the transmission of information from the brain to the muscle tissues (output).<br />
<br />
<b><i>Your subconscious mind will respond faithfully and powerfully to your conscious awareness of sound.</i></b><br />
<br />
However, your subconscious mind will search for sound using the sense of feel if your conscious awareness of sound is vague or absent.
Your subconscious mind already knows how to execute the mechanics necessary to play. Your conscious mind only needs to have a powerful awareness of the notes you want to play.
When you only have a vague awareness or no conscious awareness of the sound, your subconscious mind will attempt to create a “feel” awareness of sound by converting your lips into ears. Lips have great potential to produce sound but they are very poor detectors of sound.
We must prevent the subconscious mind from searching for the sound by feel in the lips. We only need to provide a vivid awareness of the sound in the conscious mind.<br />
<b><br /></b>
<b><i>THE MOST VIVID CONSCIOUS AWARENESS OF SOUND IS ACHIEVED BY MENTALLY SINGING WHILE PLAYING. </i></b><br />
<b><i><br /></i></b>
<b><i> SING BUZZ PLAY</i></b><br />
<br />
A number of years ago I observed a demonstration of which areas of the brain were active while playing an instrument. The brain of a violinist was scanned as she played. The part of her brain that was most active was the same part that is active in speech. She was speaking with sounds created by the violin rather than vocal chords.<br />
<br />
Some sounds are labeled words and some are called music. It doesn’t matter how we label them because all sounds originate as conscious thought in the same area of the brain.
The messages of sound can be transmitted to any tissue. People who have had their vocal chords removed because of cancer learn to speak crudely using other tissues in their throat.<br />
<br />
We all learn to speak without any conscious understanding of the mechanics involved. Over time our subconscious mind learns the mechanics necessary to realize to our conscious awareness of sound. We only need to allow a child the time and repetitions necessary to make it happen.
Since a brass instrument has no sound of it’s own, the sound that emerges from bell is a direct reflection of the mind of the player.<br />
<br />
<b>Arnold Jacobs</b><br />
<b><i><br /></i></b>
<b><i>There are two instruments. One in the hands and one in the head. The instrument in the hands is a mirror reflecting the one in the head. </i></b><br />
<br />
<b>Roger Rocco</b><br />
<br />
<b><i>You must be an honest musician because you have a lie detector in your hands.</i></b><br />
<br />
<b>(3:1) THE GOLDEN RATIO AND “THE LADDER OF AWARENESS OF SOUND”</b><br />
<br />
We must have a powerful conscious awareness of the sound in order to produce a powerful resulting sound with an instrument. Vocal singing and mouthpiece buzzing are powerful tools that raise our awareness of sound.
I advise students to sing and buzz, in any combination, three times to elevate their musical awareness. The sets of three should be repeated until the sound awareness has been elevated enough so that they can maintain conscious singing while playing.<br />
<br />
Sound awareness must be powerful enough to overcome all distractions such as feel, the instrument, or the conscious analysis of mechanics.
Once they have learned fingering and playing position, my elementary students only asked the following question.<br />
<br />
<b><i>HOW DOES THE MUSIC GO?</i></b><br />
<br />
They never asked me how to play their instrument! They knew much more than me because they play them everyday. My success as a teacher and as a player has always resulted from my communicating the music to my students or myself. Yes, it’s that simple. Any music therapist knows that music has a very powerful influence on the mind.<br />
<br />
<b><i>We must have a simplistic approach to motivate the complex mechanics required to play an instrument or do anything else. </i></b><br />
<br />
<b>H. A. Vandercook</b><br />
<br />
<b><i>Keep it simple.</i></b><br />
<br />
<b>THE HOT STOVE SYNDROME (PARALYZING NEGATIVE CONDITIONING)</b><br />
<b><br /></b>
<i style="font-weight: bold;">Paralysis by Analysis </i>inevitably results in a history of failure. Over time the physical discomfort and emotional pain the player experience becomes associated with and reinforced by the instrument. The instrument becomes a "hot stove" that the subconscious (reactive) mind rejects as harmful. The rejection results in paralysis of the embouchure, breathing, tongue, fingers, or any combination of those elements of playing.<br />
<br />
The normal reaction to the paralysis, discomfort, and emotional pain is to consciously restore function and to feel good.<br />
<br />
<b><i>Feeling good when you play is a by-product of playing correctly. You cannot motivate correct playing by attempting to feel good first.</i></b><br />
<br />
As the player consciously attempts to motivate the tissues and feel good, they create more failure resulting in increasing paralysis and emotional pain.<br />
<br />
<b><i>Paralysis (dystonia) is motivated by the subconscious mind in response to a history of failure. The process of restoring function can only occur if the player gradually creates a history of success. </i></b><br />
<br />
Most of my teaching involves helping musicians recover or develop their playing skills that have been lost, or never achieved. They usually have dedicated themselves to paralyzing analysis of their air, embouchure, and sometimes fingers. Most often the self analysis was prescribed to them by well intended teachers, technical method materials, and music schools.<br />
<br />
<b>My job is always very simple. I only need to alter the musician’s state of mind by directing them to focus only on the music. </b><br />
<b> </b><br />
Self analysis is not only unnecessary, it results in destructive paralysis. If children self analyzed how to speak or walk, they would never be able to do either. Many musicians devote their lives to learning how to master playing an instrument but never do.<br />
<br />
<b><i>IF YOU MASTER THE MUSIC FIRST, MASTERY PLAYING THE INSTRUMENT WILL FOLLOW. </i></b><br />
<b><i><br /></i></b>
<b><i>THE MUSIC TELLS US EVERYTHING WE NEED TO KNOW.</i></b><br />
<b><br /></b>
<b><i>IT’S JUST THE SINGING!</i></b>Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com10tag:blogger.com,1999:blog-5301079526041772488.post-9626733554410006082012-01-09T17:18:00.000-08:002013-04-18T19:09:31.243-07:00THE BRASS TRILOGY<br /><span style="font-style:italic;"><span style="font-weight:bold;">1. There is no reason for your success or failure other than your state of mind.
<br />
<br />2. Sound motivates function.
<br />
<br />3. It’s just the singing!</span></span>
<br />
<br />The brass player’s conscious awareness must focus only on the sound they want to create with their instrument. Their conscious commitment to the sound will motivate the subconscious mind to do whatever is necessary mechanically to realize it with an instrument. The most vivid awareness is achieved by mentally singing the music as it’s being played.
<br />
<br /><span style="font-weight:bold;">Roccoism</span>
<br />
<br /><span style="font-style:italic;"><span style="font-weight:bold;">Your subconscious mind will respond faithfully and powerfully to your conscious will if you don't interfere with paralyzing self analysis.
<br /></span>
<br />
<br /><span style="font-weight:bold;">Adolph Herseth</span>
<br />
<br /><span style="font-weight:bold;"><span style="font-style:italic;">It's amazing what the lips can accomplish if you get your mind out of the way.</span></span>
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<br /><span style="font-weight:bold;">Arnold Jacobs</span>
<br />
<br /><span style="font-weight:bold;"><span style="font-style:italic;">I believe that it is best to be somewhat unconscious of your physical maneuvers but highly conscious of your musical goals.</span>
<br /></span>
<br /><span style="font-weight:bold;">H. A. Vandercook <span style="font-style:italic;"> Keep it simple. If you can sing it,<span style="font-style:italic;"> you</span> can play it.</span>
<br /></span>
<br /><span style="font-weight:bold;">Arnold Jacobs <span style="font-style:italic;"> I sing the notes in my head as I play them. It doesn’t matter how my lip feels or how I feel.</span>
<br /></span>
<br /><span style="font-weight:bold;">Adolph Herseth <span style="font-style:italic;">When encountering problems technically or musically, first sing (vocally)then buzz (mouthpiece). Transfer the singing and buzzing to the instrument.</span>
<br /></span>
<br /><span style="font-weight:bold;">Meredith Willson “The Think System” from “The Music Man”
<br /></span>
<br />Marion, the librarian, speaking to Harold Hill, the bandmaster.
<br />
<br /><span style="font-weight:bold;"><span style="font-style:italic;">Is it true that you have developed a revolutionary new method of teaching music called “The Think System”?</span></span>
<br />
<br /><span style="font-weight:bold;">Harold Hill <span style="font-style:italic;"> Yes, it’s really quite simple. Nobody has to teach you how to whistle. You only have to think the tune to have it come out perfectly clear.</span>
<br /></span>
<br /><span style="font-weight:bold;">Roger Rocco</span>
<br />
<br /><span style="font-weight:bold;"><span style="font-style:italic;">We must have a childlike simplistic approach to executing the incredibly complex mechanical skills that are required to play an instrument or do anything else.</span>
<br /></span>
<br /><span style="font-weight:bold;"<span style="font-style:italic;">SING BUZZ PLAY</span></span>
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<br /><span style="font-weight:bold;">THE FINALE ULTIMO</span>
<br />
<br />For those who require a book, you are welcome to print these posts and bind the pages. Please accept this information as a gift from Arnold Jacobs who blessed me with a career and life in music. Roger
<br />Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com1tag:blogger.com,1999:blog-5301079526041772488.post-45330597241043465802011-12-20T20:55:00.000-08:002011-12-27T06:27:48.580-08:00THE IMPERFECT PURSUIT OF PERFECTION, THE PARALYZING IMPACT OF SELF ANALYSIS<span style="font-weight:bold;">Roccoisms</span>
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<br /><span style="font-style:italic;">Your determined pursuit of perfection will lead to greater imperfection if you cannot accept the inevitable reality that an element of failure is a necessary component of creating success.
<br /></span>
<br /><span style="font-style:italic;
<br />If you are emotionally anxious and uncomfortable physically with an instrument in your hands, your subconscious mind will perceive the instrument as something dangerous like a hot stove. The protective reaction of the subconscious mind will sabotage your ability to perform as it erroneously attempts to prevent emotional and physical discomfort by causing debilitating paralysis.
<br /></span>
<br /><span style="font-style:italic;">You must celebrate your moments of success and accept your moments of failure so that you are joyful when you play rather than in despair.
<br /></span>
<br /><span style="font-style:italic;">Poor sound can be transformed into quality sound. Silence cannot be transformed into quality sound.
<br /></span>
<br /><span style="font-style:italic;">Focal dystonia is a symptom rather than a disease. Any physician understands that treating the symptoms of disease does not lead to a cure.
<br /></span>
<br /><span style="font-style:italic;">Your subconscious mind will respond faithfully and powerfully to your imaginative conscious will if you don’t interfere with intellectual self analysis.
<br /></span>
<br /><span style="font-style:italic;">Imagination is a much greater motivator of the power of the subconscious mind than intellect.</span>
<br />
<br /><span style="font-style:italic;">There is no reason for your success or failure other than your state of mind.
<br /></span>
<br /><span style="font-weight:bold;">Robert Carter (The Secret of the Ages, 2007 Wilder Publications)</span>
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<br /><span style="font-style:italic;">The conscious mind is the gateway that allows access to the power of the subconscious.
<br /></span>
<br /><span style="font-weight:bold;">Arnold Jacobs</span>
<br />
<br /><span style="font-style:italic;">If you cannot accept crudity, you cannot create quality.</span>
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<br /><span style="font-weight:bold;">Adolph Herseth</span>
<br />
<br /><span style="font-style:italic;">If I didn’t miss any notes, I wouldn’t have any friends.</span>
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<br /><span style="font-style:italic;">Paralysis by Analysis</span>
<br />
<br /><span style="font-weight:bold;">Maurice Andre</span>
<br /><span style="font-style:italic;">
<br />I expect the notes to be there.</span>
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<br /><span style="font-weight:bold;">THE CONSEQUENCES OF FAILURE</span>
<br />
<br />A brass player, or any musician, has no opportunity to test or modify their musical product before they present it to an audience. However, computer programmers or electrical engineers can fully evaluate and modify their work until they have complete confidence of its value. They rarely face consequences of failure unless their evaluations and modifications are incorrect.
<br />
<br />Because of the precarious acoustical characteristics of brass instruments, a 100% expectation of success is not possible, even for the greatest players. A certain amount of failure is inevitable. Excessive failure over time is debilitating. The negative psychological impact of too much failure is not as great for an elementary musician as it is for a professional whose livelihood and self esteem depend on a high level of success. The negative consequences of failure are greater for the musician who is expected to produce.
<br />
<br />The musicians who come to me most often for help are experienced professionals whose careers are in jeopardy. In time, their fear and anxiety becomes powerfully conditioned to and reinforce by the instrument in their hands. This powerful association, conditioned reflex, was first demonstrated by the Russian behavioral psychologist Ivan Pavlov in his well known experiments with a salivating dog. The instrument becomes an enemy rather than a friend.
<br /><span style="font-weight:bold;">
<br />THE PERFECTIONIST PERSONALITY</span>
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<br /><span style="font-weight:bold;">Roccoism</span>
<br />
<br /><span style="font-style:italic;">The perfectionist musician cannot not tolerate imperfection with a instrument in their hands. As a result, much of the time they are dissatisfied with their performance because perfection is not a realistic goal. As their dissatisfaction grows over time, the instrument becomes a powerful reinforcing influence motivating mechanical paralysis.
<br /></span>
<br />Parents celebrate their children’s first intelligible words or first steps. The positive reinforcement encourages their continued development. If the child was scolded for their imperfections, paralysis would set in and all development would cease.
<br />
<br />A personal friend, with a doctorate in psychology and works as a therapist, dreamed of becoming a professional pianist when she was a child. Her father, who was a fine pianist himself, was her teacher. When there were visitors to their home, she was always expected to perform for the guests. However, she was only allowed to play until she made a mistake. When she inevitably made an error, the impromptu recital was terminated and she was asked to leave.
<br />
<br />Since she was not allowed to fail, the consequences of her inevitable failure eventually caused paralysis to the point where she could no longer even sit at the piano. The piano became a powerful factor reinforcing her emotional pain, anxiety, and personal disappointment.
<br />
<br />There is a response in the subconscious mind that reacts to protect us from emotional or physical harm. When we touch a hot stove, are response is not a conscious intellectual event. We don’t think to ourselves, “This is uncomfortable. I don’t like it. What should I do about it?” Our subconscious mind reacts powerfully and instantly to remove our hand from the uncomfortable situation.
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<br /><span style="font-weight:bold;">THE DOUBLE BARRELED SHOTGUN</span>
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<br />The brass player has a double barreled shotgun pointed at them because they experience both emotional pain and physical discomfort when they fail to execute the notes they want to produce. If a pianist or violinist plays the wrong note, they may experience personal disappointment but they do not experience physical pain. The rejection of the air column within a brass instrument is quite uncomfortable. A friend once described it, “like trying to push a piano up the stairs.”
<br /><span style="font-weight:bold;">
<br />PERFORMANCE ANXIETY - THE BARRIER OF FEAR</span>
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<br /><span style="font-weight:bold;">Roccoism</span>
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<br /><span style="font-style:italic;">Most people never realize their dreams in life because they are paralyzed by their fear of failure.
<br /></span>
<br /><span style="font-weight:bold;">Adolph Herseth</span>
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<br /><span style="font-style:italic;">A trumpeters life is risky business. No greatness can be achieved if the player is paralyzed by fear.
<br /></span>
<br />When a musician fails in performance, deep emotional pain and fear of continuing failure come instantly. Their expectation of success weakens and their expectation of failure grows in a accelerating downward spiral.
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<br /><span style="font-weight:bold;">Maxwell Maltz (Psycho-Cybernetics, 1960 Prentice-Hall, Inc.)</span>
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<br /><span style="font-weight:bold;">The mechanisms of success and failure are the same.</span>
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<br /><span style="font-weight:bold;">Roccoisms</span>
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<br /><span style="font-style:italic;">We always realize our positive or negative expectations because our subconscious mind will faithfully react to satisfy our conscious will. The exception is if our will directs intentional or perceived self inflicted harm.
<br /></span>
<br /><span style="font-style:italic;">The subconscious mind may respond independently if there is no conscious will.</span>
<br />
<br />Our expectations are usually the result of creating a history over time. If our legs function properly to get us out of bed everyday, we will expect them to function the same tomorrow.
<br />
<br />Since the subconscious mind does not distinguish between fantasy and reality, it is possible to create an expectation motivated by imagination. I frequently use this technique in my private teaching. I will ask students to imagine that they are me or someone else whose playing they admire.
<br />
<br /><span style="font-weight:bold;">First Case Study</span>
<br />
<br />I worked with a fine oboist, who was completing her DMA at a major university. When she brought out the case with 20-25 reeds, I asked her to choose the best and worst ones. There was no hesitation picking the worst one, but she struggled to choose the best reed.
<br />
<br />Finally, when the two reeds were removed from the case, I asked her to use the worst one. The anguish of her facial expression indicated that she did not expect to succeed. I asked who her favorite oboist is. When she replied, I said, “Do you think he could play the worst reed successfully?” Without hesitation, she replied, “Yes!” I instructed her to pretend it was him playing La Gazza Ladra. She immediately performed the solo beautifully Her reed and oboe became inconsequential and the music was the only thing that mattered. Her commitment to the music allowed her to transcend her expectation of failure which was powerfully reinforced by the reed.
<br />
<br /><span style="font-weight:bold;">SECOND CASE STUDY</span>
<br />
<br />I received a call from a very fine professional flutist who I knew as an excellent high school musician. Sadly, she told me that for the previous fifteen years, her right hand has been somewhat paralyzed and she experienced pain while fingering. She also mentioned that she had been to flute teachers and medical professionals worldwide but no one has been able to help her.
<br />
<br />I first asked if her hand functioned normally when she was not playing the flute. She said yes and added that the doctors could not find anything physically wrong. I immediately knew the physical malfunction was the result of her state of mind. Since her mind was causing the problem, I understood that her recovery must be to alter her state of mind. She had lost her mental commitment to the music and was now focusing on her right hand. She was desperately trying to eliminate the pain and to make her fingers function.
<br /><span style="font-weight:bold;">
<br />H. A. Vandercook</span>
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<br /><span style="font-style:italic;">Keep it simple.</span>
<br />
<br /><span style="font-style:italic;">If you can sing it, you can play it.</span>
<br />
<br /><span style="font-weight:bold;">Arnold Jacobs</span>
<br />
<br /><span style="font-style:italic;">I sing the notes in my head as I play them. It doesn’t matter how my lip feels or how I feel.
<br /></span>
<br /><span style="font-weight:bold;">Roccoisms</span>
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<br /><span style="font-style:italic;">The highest level of awareness of sound is achieved when we mentally sing the notes as we play them.
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<br /><span style="font-style:italic;">It’s just the singing and buzzing no matter where your mouthpiece is located.</span>
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<br /><span style="font-weight:bold;">SING, BUZZ, PLAY</span>
<br /><span style="font-weight:bold;">
<br />THE PROCESS OF RECOVERY</span>
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<br />The most effective technique to bring her awareness back to the music was to have her vocally sing as she fingered and to mentally sing as she played.
<br />
<br />Since I understood that the flute was reinforcing her paralysis and pain, the first step was to sing vocally without fingering. After several repetitions of vocal singing, I ask if she thought she could sing and finger the instrument while it rested on her lap. She replied affirmatively and was able to finger freely and without pain.
<br />
<br />I asked her to alternate repetitions of vocally singing and fingering with singing mentally while fingering. She gradually brought the flute to playing position. I told her to mentally sing and play but only when she expected to succeed. She was able to play a short passage normally and without pain the first time she tried. It was her first moment of success in many years.
<br />
<br />I wanted to know what had happened to cause her paralysis and pain fifteen years prior. She replied, “I started giving eighty flute lessons a week to make a living.”
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<br />She was listening to so much low level performance that the elementary tone production dominated her awareness. Her subconscious faithfully responded to realize the elementary level playing that she was allowing into her conscious awareness. As the physical symptoms of her failure became more severe, she became anxious and very unhappy. Her physical and emotional pain became associated with flute and her subconscious mind perceived it as a harmful object, causing paralysis as it erroneously tried to rescue her from harm.
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<br /><span style="font-weight:bold;">Jay Friedman</span>
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<br /><span style="font-style:italic;">After a day of teaching, I sound more and more like my students.</span>
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<br />Because Adolph Herseth understood the negative impact of listening to low level trumpet playing, he only accepted very advanced students. When a student leaves my studio, I always play my horn to renew my awareness of sound. Jake taught thirty hours of lessons per week but never allowed the mostly dysfunctional playing he heard to negatively impact his personal playing. He always separated his teaching from his personal performance.
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<br /><span style="font-weight:bold;">Adolph Herseth</span>
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<br /><span style="font-style:italic;">There’s nothing wrong with your chops. Your mind is messing them up.</span>
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<br /><span style="font-weight:bold;">Roccoism</span>
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<br /><span style="font-style:italic;">The music tells us everything we need to know.</span>
<br />
<br /><span style="font-weight:bold;">Arnold Jacobs</span>
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<br /><span style="font-style:italic;">We must give dominance to the music not the instrument or ourselves.</span>
<br />
<br /><span style="font-style:italic;">I believe that we should be somewhat unconscious of our physical maneuvers and highly conscious of our musical goals.</span>
<br />
<br /><span style="font-weight:bold;">Adolph Herseth</span>
<br />
<br /><span style="font-style:italic;">Sound is the criterion for how we do this and that.</span>
<br />
<br /><span style="font-style:italic;">When encountering problems technically or musically, first sing then buzz. Transfer the singing and buzzing to the instrument.
<br /></span>
<br /><span style="font-weight:bold;">AIR AND EMBOUCHURE ANALYSIS IS POISON NOT MEDICINE!!! </span>
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<br />In over forty years of studio and classroom teaching, not one student has ever asked me anything about air or embouchure! Any music teacher is well aware of the question they hear most often.
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<br /><span style="font-weight:bold;">"HOW DOES THIS GO?"</span>
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<br />The students are constantly telling us what they need and most teachers ignore it. Instead, many teachers force feed students useless information that is very destructive to those who take it seriously. My students frequently complain about conductors and clinicians who instruct them to give dominance to paralyzing self analysis. Here are the worst examples:
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<br /><span style="font-weight:bold;">FILL THE INSTRUMENT WITH AIR!</span>
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<br />The instrument is already full of air. Since it has no sound, they should say fill the instrument with sound.
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<br /><span style="font-weight:bold;">Roccoism</span>
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<br /><span style="font-style:italic;">Sound motivates function.</span>
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<br /><span style="font-weight:bold;">IT REQUIRES MORE AIR TO PLAY SOFT THAN LOUD.</span>
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<br />On a single breath, I can sustain a soft note with a tuba for 30 seconds but I can only play a very loud note for 1-3 seconds.
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<br /><span style="font-weight:bold;">BREATHE FROM THE DIAPHRAGM (STOMACH).</span>
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<br />Attempting to breath only from the stomach will reduce the vital capacity by 50%! No one tells an athlete to breathe only from the diaphragm otherwise they would collapse from exhaustion.
<br />
<br />
<br /><span style="font-weight:bold;">Roccoism</span>
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<br /><span style="font-style:italic;">It is not necessary to teach you how to breathe because you have been doing it very well for your entire life.
<br /></span>
<br />The list of erroneous comments is endless but the most destructive are about embouchure analysis and breath control.
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<br /><span style="font-weight:bold;">DROP YOUR JAW.</span>
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<br /><span style="font-weight:bold;">TIGHTEN OR LOOSEN YOUR LIPS.</span>
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<br /><span style="font-weight:bold;">FAST OR SLOW AIR</span>
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<br /><span style="font-weight:bold;">DIRECT THE AIR UP OR DOWN INSIDE THE MOUTHPIECE.</span>
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<br /><span style="font-weight:bold;">USE MORE OR LESS MOUTHPIECE PRESSURE.</span>
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<br /><span style="font-weight:bold;">SHIFT THE MOUTHPIECE OR KEEP THE MOUTHPIECE STABLE AS YOU ASCEND OR DESCEND IN PITCH.</span>
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<br /><span style="font-weight:bold;">RELAX!</span>
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<br /><span style="font-weight:bold;">Roccoisms</span>
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<br /><span style="font-style:italic;">It is not necessary to study air or vocal chords in order to talk. It’s the sound of the words we want to say that motivates the mechanical function of speech. Nothing is different when we have an instrument in our hands. Our awareness of the music will motivate the mechanics required to play the instrument.
<br /></span>
<br /><span style="font-style:italic;">While playing, a wind instrumentalist has only a very vague awareness of air pressure or air flow. Since we cannot detect air, we should focus on what is detectable, <span style="font-weight:bold;">SOUND!</span>
<br /></span>
<br /><span style="font-weight:bold;">THE ACCEPTANCE OF IMPERFECTION</span>
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<br /><span style="font-weight:bold;">Roccoisms</span>
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<br /><span style="font-style:italic;">Your acceptance of failure will allow you to minimize the consequences. Your inability to accept failure will maximize the consequences.
<br /></span>
<br /><span style="font-style:italic;">You don’t need to enjoy or celebrate your moments of failure, but you must accept the fact that they are going to occur as you strive for success.
<br /></span>
<br /><span style="font-style:italic;">Your response to failure must be to act in a manner that leads to success not more failure.</span>
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<br /><span style="font-weight:bold;">Shinichi Suzuki</span>
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<br /><span style="font-style:italic;">We can teach a child how to play an instrument the same way they learned to talk.</span>
<br /><span style="font-weight:bold;">“THE THINK SYSTEM” from The Music Man by Meredith Willson</span>
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<br /><span style="font-weight:bold;">Marion, the Librarian</span>
<br />
<br /><span style="font-style:italic;">Harold, is it true that you have invented a revolutionary new system of teaching music called <span style="font-weight:bold;">THE THINK SYSTEM?</span></span>
<br />
<br /><span style="font-weight:bold;">Harold, the Bandmaster</span>
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<br /><span style="font-style:italic;">Yes, it’s really quite simple. Nobody has to teach you how to whistle. You only have to think the tune to have it come out perfectly clear.</span>
<br /><span style="font-weight:bold;">
<br />
<br /><span style="font-weight:bold;">Roccoism</span>
<br />
<br /><span style="font-style:italic;">Your ability to speak is not motivated by intellectual analysis of breath and vocal chords. The mechanics of speech are motivated by the sound of words. In the same manner, your ability to play an instrument is motivated by <span style="font-weight:bold;">"The Sound of Music"</span>.</span>
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<br /><span style="font-weight:bold;">Arnold Jacobs</span>
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<br /><span style="font-style:italic;">The key to playing a brass instrument is found in speech. </span> Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com5tag:blogger.com,1999:blog-5301079526041772488.post-397461987887413492011-08-29T20:13:00.000-07:002011-08-30T07:05:56.153-07:00THE VALVELESS TUBA<span style="font-weight:bold;">Arnold Jacobs</span>
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<br />“I don’t fill the instrument with air. I fill it with vibrations (sound).”
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<br /><span style="font-weight:bold;">Adolph Herseth</span>
<br />
<br />“When encountering problems technically or musically, first sing (vocally) then buzz. Transfer the singing and buzzing to the instrument.”
<br />
<br />“Practice entire sessions on the mouthpiece alone to avoid having problems creep into your playing.”
<br />
<br /><span style="font-weight:bold;">Roccoisms</span>
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<br />“I gave tuba playing a long time ago. Now, I play an 18ft. mouthpiece with valves.”
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<br />“Play the mouthpiece not the instrument.”
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<br />For many years I have demonstrated in master classes and lessons, that I play the mouthpiece inside the tuba rather than play the tuba. The tuba is just a very selective amplifier of the sound that I create in the mouthpiece. I call the demonstration, “The Valveless Tuba” or “Tuba Gymnastics” I tell the listeners that it looks and sound like I’m playing the tuba but I’m not.
<br />
<br />I perform very rapid scales and chords, or a technical etude without using valves. I play the three octave “gymnastics” very fast to disguise the fact that many of the notes are inaccurate or out of tune. As I play, I remove the mouthpiece from the leadpipe so the audience can hear that I am sending the same sound to the mouthpiece that they hear coming from the bell.
<br />
<br />Recently, I cleaned one of my piston valve tubas and began the process of reassembling the instrument. Before inserting the valves, I decided to play it. The buzzing sound did not come out the bell but emerged from the first valve casing. I buzzed fairly loudly and fingered all the empty valve casings for about 30 minutes before placing my mouthpiece in an instrument with valves. I was careful to be sure that I was on pitch by playing familiar music.
<br />
<br />After my extended practice session playing the valveless tuba, the resonance that came from the bell of the tuba with valves sounded as though Jake was playing! I immediately knew that I had discovered a valuable tool. It was a real valveless tuba rather than the fake one that I had been using in my “tuba gymnastics” demonstrations. Playing the valveless tuba was very similar but yet somewhat different from playing the mouthpiece alone, using a BERP, or buzzing into a megaphone (tubaphone).
<br />
<br />I was more willing and able to commit to sending a resonant and accurate sound directly into the leadpipe of the real instrument rather than just the mouthpiece alone or an external device. I suspect that the reason is I have a much longer history of playing the mouthpiece inside the leadpipe than outside somewhere. Also, the valveless instrument accepts inaccurate frequencies.
<br />
<br />Since the valveless tuba did not provide any amplification of my mouthpiece playing, I provided it myself by buzzing fairly loudly. When I sent the same level of tone production to the tuba with valves, the effortless sound coming from the bell was very full and resonant. I was surprised and somewhat distracted because it sounded like someone else playing!
<br />
<br />I soon realized that I was not fully transferring the same mouthpiece playing from the valveless tuba to the one with valves because the frequencies were not quite accurate. I was not transferring the same commitment to mental singing that was being achieved playing the valveless instrument.
<br />
<br /><span style="font-weight:bold;">I REMINDED MYSELF THAT I ONLY NEEDED TO TRANSFER THE SINGING BECAUSE MENTAL SINGING, NOT FEEL, MOTIVATES THE PRODUCTION OF SOUND THAT CAN BE ACCEPTED BY THE VALVE TUBA!</span>
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<br /><span style="font-weight:bold;">LIBERATION</span>
<br />
<br />My experience playing the valveless tuba completely freed me from the paralyzing negative influence of the instrument. There are no consequences of failure because the leadpipe accepts just about any frequency. It’s very forgiving of inaccuracy because no single harmonic series is defined by one column of air. There are infinite air columns.
<br />
<br /><span style="font-weight:bold;">THE ULTIMATE GOAL PLAYING THE VALVE TUBA IS FOR IT TO BECOME A VALVELESS TUBA!</span>
<br />
<br /><span style="font-weight:bold;">Arnold Jacobs</span>
<br />
<br />“There are acoustical laws that must be obeyed. We must send in frequencies that the instrument can accept. To do this, we must mentally sing the notes as we play them.”
<br />
<br />“I sing the notes in my head as I play them. I don’t care how my lip feels or how I feel.”
<br />
<br />I have frequently thought that maybe having valves on a brass instrument is not a good thing, That’s not true! Valves are wonderful tools.
<br />
<br /><span style="font-weight:bold;">HOWEVER, WE MUST FULLY UNDERSTAND THEIR LIMITATIONS! VALVES DO NOT PRODUCE SOUND!</span>
<br />
<br />The primary function of valves is to aid technical facility playing in various keys, extend lower range using less tubing, and to improve intonation. Because valves allow the brass tubing to be shorter, there is room for larger bore sizes which provide greater amplification with varied timbres.
<br />
<br />I frequently coach brass players before a professional audition. I ask, “How would you feel (confidence level) about the audition if it was to be played on the mouthpiece alone?” They always reply, “Great” or “No Problem” My immediate response is always, <span style="font-weight:bold;">“GUESS WHAT? IT IS A MOUTHPIECE AUDITION!”</span>
<br />
<br />It is very important to understand that what motivates tone production when playing the mouthpiece, no matter where it is located, is to mentally sing the music as you create it. This is not difficult to accomplish! I have seen pre-school children buzz melodies on a trumpet mouthpiece without instruction if they imitate what they see and hear someone else doing.
<br />
<br />The primary mental focus of mouthpiece playing outside the leadpipe is mentally singing the notes (melody) that you want to produce.
<br />
<br /><span style="font-weight:bold;">THE BRASS PLAYER’S STATE OF MIND (COMMITMENT TO SINGING!) MUST BE THE SAME REGARDLESS WHERE THE MOUTHPIECE IS LOCATED.
<br /></span>
<br /><span style="font-weight:bold;">THE HOT STOVE SYNDROME</span>
<br />
<br />If an instrumentalist develops a history of failure, the resulting emotional pain and physical discomfort will become closely associated with and influenced by their instrument. The instrument reinforces the player’s expectation of failure. The subconscious mind will respond to the player’s expectation of failure by creating physical conditions that cause even more failure.
<br />Eventually, the instrument becomes a “hot stove” that triggers a paralyzing reaction in the subconscious mind.
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<br />We become sabotaged by a subconscious response that is supposed to protect us from physical and emotional harm rather than cause it.
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<br /><span style="font-weight:bold;">Roccoism</span>
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<br />“We always realize our expectations whether they are positive or negative.”
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<br />I have only seen the Hot Stove Syndrome, when someone played the mouthpiece outside the instrument, one time. I have had hundreds of people come to me for help when their instrument was negatively influencing them to the point of paralysis. However, they always can play the mouthpiece beautifully when it’s outside the instrument.
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<br />When a brass player comes to me for help, I always ask to hear their mouthpiece playing first. After briefly listening, my response is always, “Wonderful, there’s nothing wrong with your playing.” Usually, they are startled by my evaluation. Sometimes their body language tells me that they think I’m lying. I immediately ask, “How do I know there is nothing wrong?” The obvious answer is because, “Your playing sounds good!"
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<br /><span style="font-weight:bold;">Arnold Jacobs</span>
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<br />“I don’t care if what you are doing (physically) is all wrong if it sounds good.”
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<br />Sometimes, a player will respond, “It may sound okay but it feels lousy.” I remind them that Jake tells us that it doesn’t matter how it feels. I also tell them that if they want their playing to feel better they must commit to the sound by mentally singing first.
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<br /><span style="font-weight:bold;">Roccoisms</span>
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<br />“Feeling good is a by-product of correct playing. You cannot motivate correct playing by trying to feel good first.”
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<br />“Sound motivates function, not the reverse.”
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<br />“Feel and Fail are four letter words to a brass player.”
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<br />Yes, playing the mouthpiece somewhere other than in the leadpipe of an instrument, feels different. SO WHAT!!! To be truly liberated from the paralyzing influence of the instrument, we must transcend our physical feedback by committing to the production of sound in the mouthpiece.
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<br />Are we mentally singing when we play the mouthpiece outside the leadpipe? The answer is absolutely, positively, YES! There’s no other way to make it happen!
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<br />It’s not difficult to do unless we are more committed to the feel of playing, or physical mechanics rather than sound we want to come from the bell.
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<br /><span style="font-weight:bold;">Roccoism</span>
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<br />“The instrument has no sound of it’s own. The only sound that will emerge from the bell is the sound that you produce in the mouthpiece which originates in your conscious mind.”
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<br /><span style="font-weight:bold;">Arnold Jacobs</span>
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<br />“What you feel like (while playing) is not important. You should focus only on what you want to sound like.”
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<br />“There are two instruments. One in your hands and one in your head. The one in your hands is a mirror reflecting the one in your head.”
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<br /><span style="font-weight:bold;">Alolph Herseth</span>
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<br />“Think sound not mechanics.”
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<br /><span style="font-weight:bold;">Roccoisms</span>
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<br />“Sound motivates function.”
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<br />“There is no reason for your success or failure other than your state of mind.”
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<br /><span style="font-weight:bold;">IT’S JUST THE SINGING!</span>
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<br />The highest level of awareness of sound is achieved when we mentally sing the music as we play it. Our subconscious mind responds to the musical awareness by executing all the highly complex mechanics required play the instrument. The mechanics of playing are much too complex to be motivated by the conscious mind. This is the same process that we use for speaking. Our subconscious mind responds beautifully to our conscious thoughts of words without any intellectual understanding of how it’s done.
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<br /><span style="font-weight:bold;">IN THE ABSENCE OF A CONSCIOUS AWARENESS OF SOUND, THE SUBCONSCIOUS BRAIN WILL ATTEMPT TO CREATE SOUND AWARENESS BY USING THE SENSE OF FEEL. IT WILL TRY TO CONVERT LIPS INTO EARS. THAT'S LIKE TRYING TO DRAIN THE WATER FROM A SWIMMING POOL WITH A STRAW. </span>
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<br /><span style="font-weight:bold;">Adolph Herseth</span>
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<br />"It’s amazing what we can achieve if we don’t allow the (conscious) brain to interfer.”
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<br />“There’s nothing wrong with your chops. Your mind is messing them up.”
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<br /><span style="font-weight:bold;">THE VALVELESS TUBA</span>
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<br />The most important aspect of the valvesless tuba is not the transfer of imprecise resonance to the instrument with valves. We must transfer precisely tuned resonance. That can only be achieved by mentally singing. It we are only interested in transferring imprecise resonance, the instrument will reject the sound no matter how hard we work to impose it.
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<br />The real benefit of the valveless tuba is realized only when we are totally committed to the transfer of our mental singing. The valveless tuba reminds us of what that commitment is without the negative influence of the instrument. The motivation of that negative influence is our history of failure.
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<br /><span style="font-weight:bold;">WE MUST TRANSCEND THE INSTRUMENT AND ALL OTHER DISTRACTIONS WITH OUR COMMITMENT TO THE SINGING OF THE MUSIC WE WANT TO CREATE. NOTHING ELSE MATTERS!!!
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<br /><span style="font-weight:bold;">Alolph Herseth</span>
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<br />“No greatness can be achieved if the brass player is paralyzed by fear.”
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<br /><span style="font-weight:bold;">Roccoism</span>
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<br />“Courage is not the absence of fear. It’s the will to function in spite of it.”
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<br /><span style="font-weight:bold;">IT’S JUST THE SINGING!
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<br />IT’S JUST THE SINGING!!!
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<br />IT’S JUST THE SINGING............
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<br /><span style="font-weight:bold;">I recently made a wonderful discovery about my four tubas. None of them have valves anymore!</span>
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<br /> Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com3tag:blogger.com,1999:blog-5301079526041772488.post-46272638799988044712011-04-28T15:26:00.000-07:002011-04-28T17:03:45.056-07:00IT'S JUST THE SINGING!Arnold Jacobs</span> - “I sing the notes in my head as I play them. It doesn’t matter how my lips feels or how I feel.”
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<br />When me and several of Jake’s students were in the process of contributing to his book, <span style="font-style:italic;">Song and Wind</span>, I told Brian Fredrickson, author and publisher, that those words were the most important in the book. In that statement, Jake says nothing about air, embouchure, tongue, lungs, diaphragm, or any other body part. However, he does strongly imply that those things don’t matter at the conscious level of the brass player’s awareness. He says that his commitment to mental singing is his most important consideration no matter of how his lips or the rest of him feels physically. Such simplicity is the secret of his success as a musician and teacher.
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<br /><span style="font-weight:bold;">Roccoism</span> - “We must have a simplistic approach to the intricate complexities of playing an instrument or doing anything else in everyday life.”
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<br /><span style="font-weight:bold;">Arnold Jacobs</span> - “I want you to have the mind of a child, not that of an analytical adult.”
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<br />“You may be analytical about the music but you must not be analytical about how to produce it.”
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<br />“You must give dominance to the music you want to produce, not your instrument.”
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<br /><span style="font-weight:bold;">H.A. Vandercook</span> - “If you can sing it, you can play it.”
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<br />“Keep it simple.”
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<br /><span style="font-weight:bold;">Meredith Willson</span> - “<span style="font-weight:bold;">The Think System</span>” from <span style="font-style:italic;">The Music Man</span>
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<br />“Nobody has to teach you how to whistle. It’s quite simple. You just have to think the tune to have it come out perfectly clear.”
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<br /><span style="font-weight:bold;">Robert Carter</span> - <span style="font-style:italic;">The Secret of the Ages</span>
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<br />“The real power of the mind is in the subconscious. The conscious mind is only a gateway to subconscious.”
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<br /><span style="font-weight:bold;">Roccoism</span> - “Our approach to playing an instrument should be no different than the other things we do in everyday life.”
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<br /><span style="font-weight:bold;">Adolph Herseth</span> - “Think sound not mechanics.”
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<br />“Paralysis by analysis.”
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<br /><span style="font-weight:bold;">THE HOT STOVE SYNDROME</span>
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<br />The subconscious mind is not intellectual it’s reactive. If we touch a hot stove, it will react immediately to removed our hand. There are no intellectual considerations about whether the stove is harmful or uncomfortable or about how to respond. A powerful conscious will is required to override the reactive mind that wants to remove your hand from harm. It’s not possible to consciously stop your heart from beating or to stop breathing for an extended period.
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<br />This subconscious protective response is much more powerful than the conscious will . Although the response protects us from harm in everyday life, it can sabotage us when we have an instrument in our hands.
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<br /><span style="font-weight:bold;">CONDITIONED REFLEX</span>
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<br />In time, our experiences, positive or negative, become associated with the instrument. If our playing history is mostly successful, the instrument will reinforce the continuation of the positive experiences. However, if we develop a history of failure, the instrument will have a powerful negative influence on the subconscious. That influence will motivate the protective reaction of the subconscious mind to prevent us from the continued emotional and physical harm associated with it. When the instrument becomes a hot stove, a variety of physical symptoms, from paralysis to uncontrollable shaking (dystonia), will make an ugly appearance.
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<br /><span style="font-weight:bold;">THE DOUBLE BARRELED SHOTGUN</span>
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<br />Brass players and vocalists experience the negative symptoms of failure at two levels. There is an anxious emotional response that all musicians experience when they fail and there is also physical discomfort. A friend of mine beautifully described the physical discomfort he experiences while playing the trumpet. “It feels like I’m trying to push a piano up the stairs.” A horn player, who I have worked with recently, described physical discomfort in her entire face.
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<br /><span style="font-weight:bold;">THE “FEEL GOOD” APPROACH TO BRASS PLAYING</span>
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<br />Our natural response to physical or emotional pain is to eliminate it. We may take a medication to reduce the pain of a headache or we might remove ourselves from a toxic personal relationship.
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<br /><span style="font-weight:bold;">Roccoism</span> - “Feeling good is a by-product of playing correctly. We cannot motivate correct playing by trying to feel good first.”
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<br />Most often, brass players respond to the physical symptoms of failure by trying to “fix” what seems to be wrong with their breathing, chops, tongue, or fingers.
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<br /><span style="font-weight:bold;">Adolph Herseth</span> - “There’s nothing wrong with your chops. Your mind is messing them up.”
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<br />Malfunctioning body parts (chops, tongue, lungs, etc.) are the result of a problem in the brain, not the individual body parts. People who stutter have nothing wrong with their apparatus of speech. Many stutterers can easily sing lyrics with no malfunction. The problem and the solution to the problem is in the brain, not the vocal chords, tongue or lungs.
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<br />I remember the first lesson of the principal trumpet of one of the second tier American orchestras who was in serious jeopardy of losing his job. His first words to me were, “I just came from the doctor. The bad news is that there is nothing wrong with my chops.” I responded, “That’s the good news!”
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<br /><span style="font-weight:bold;">RESPONSE TO FAILURE</span>
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<br />Many brass players complain, “I was a better brass player in high school.” or some earlier time in their lives. “What has happened to me?”
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<br />What has happened is that a history failure has developed and that history has become powerfully associated with and reinforced by the instrument in their hands. Why does anyone develop a history of failure? The simple answer is that some musicians never really learned how to be successful. Others alter their state of mind from what had originally brought them success.
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<br /><span style="font-weight:bold;">Roccoisms</span> - “Sound Motivates Function.”
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<br />“Feel and fail are four letter words to a brass player.”
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<br /><span style="font-weight:bold;">Adolph Herseth</span> - “Sound is the criterion for how we do this and that.”
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<br />“Paralysis by Analysis”
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<br />All musicians experience a certain amount of physical input when they play or sing. When that input becomes dominant over an awareness of sound, the musician has opened the door to a room of failure and misery.
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<br /><span style="font-weight:bold;">Arnold Jacobs</span> - “We cannot produce sound through sensory systems which provide input to the brain. We must stimulate the motor systems to produce output.”
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<br />“Eighty to ninety percent of our consciousness must be devoted to an awareness of the sound we want to produce. Awareness of how we feel or of the external sound must be peripheral not dominant.”
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<br />If a brass player, any instrumentalist, or vocalist gives dominance to “feel” (input), output (motor function) becomes greatly diminished or ceases completely.
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<br /><span style="font-weight:bold;">THE SYMBIOTIC MIND</span>
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<br />When there is a symbiotic relationship between the conscious and subconscious levels of awareness and function in the brain, wonderful accomplishments can be achieved.
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<br /><span style="font-weight:bold;">Adolph Herseth</span> - “It’s amazing what we can accomplish when we get the interference of the (conscious) mind out of the way.”
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<br />When the relationship is antagonistic, function ceases. The power of the imaginative and intellectual conscious mind can only be realized by an equally powerful subconscious response.
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<br /><span style="font-weight:bold;">ROCCO’S LAW</span> - MUSICAL RESPONSE = MUSICAL AWARENESS
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<br /><span style="font-weight:bold;">Roccoism</span> - “Climbing the ladder of musical awareness will bring you to the notes you want to play.”
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<br />The subconscious (reactive) mind does not react independently of the conscious will unless there is no conscious will to react to. If you consciously think about lifting your right hand, the subconscious mind will not lift the left hand instead. When playing an instrument, the subconscious mind will function to realize the conscious awareness of sound. The realized sound will always be at precisely the same level as the player’s conscious awareness. The familiar phrase, “garbage in, garbage out”, is an accurate description of what occurs.
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<br />When the conscious awareness of sound is vague or absent, the reactive but irrational subconscious mind, will react by attempting to create a more powerful awareness of sound in another manner. It will revert to the lower level sense of feel and will attempt to the player’s convert lips (mouthpiece/embouchure) into ears.
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<br /><span style="font-weight:bold;">Roccoism</span> - “Playing by feel is like trying to empty a swimming pool with a straw.”
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<br />Since the lips are capable of producing sound but not detecting it, there is no auditory information available to realize and no playing mechanics will be motivated.
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<br /><span style="font-weight:bold;">INTELLECT AND IMAGINATION</span>
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<br /><span style="font-weight:bold;">Roccoism</span> - “Imagination is a much more powerful force than intellect because imagination motivates the amazing power of the subconscious while analytical intellect attempts to by-pass it.”
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<br /><span style="font-weight:bold;">Robert Carter</span> in his book, <span style="font-style:italic;">The Secret of the</span> <span style="font-style:italic;">Ages</span>, tells us that the real power of the mind is in the subconscious. Every moment of our lives, the subconscious mind motivates whatever is necessary within us to maintain life.
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<br />The father of one of my brass students is a computer engineer. I once asked him if all the computers in the world were linked together, could they provide the same life sustaining functions of our subconscious mind? He replied, “No, they couldn’t keep an ant alive.”
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<br />If the subconscious no longer provided life sustaining function, could the conscious intellectual mind substitute? The answer again is no. When we attempt to substitute for the power of the subconscious with conscious analytical intellect, we will fail. We don’t have enough intellectual capacity or awareness of the internal body parts necessary to motivate the many physical functions necessary to sustain life. Computers were invented and developed to compensate for our intellectual shortcomings!
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<br />What motivates the incredibly complex mechanics necessary for the flight of a bird? It obviously cannot be analytical intellect since the intellectual capacity of a bird is quite low. It must be imagination. The bird has a conscious awareness of where it wants to fly which is usually to find food or escape danger. There is no conscious awareness of how to make it happen. Along with sustaining life, the mechanics necessary to fly are a function of the bird’s subconscious. This ability is already present in the bird’s subconscious from before the time it emerges from it’s shell.
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<br /><span style="font-weight:bold;">THE LADDER OF MUSICAL AWARENESS</span>
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<br />Every experienced school music teacher is aware of the question most often asked by their students after, “Can I use the bathroom?” In many years of teaching, no wind player has ever asked me about embouchure or air! Universally, the question music teachers hear most often is, “HOW DOES THIS GO?” The students understand that their ability to execute the notes is correlated with their musical awareness of the notes. Our ability to learn speech is based on the awareness of the sound of words, not an intellectual understanding of how to say them.
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<br /><span style="font-weight:bold;">SING, BUZZ, PLAY</span>
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<br /><span style="font-weight:bold;">Adolph Herseth</span> - “When encountering problems technically or musically, first sing (vocally) than buzz the mouthpiece. Transfer the singing and buzzing to the instrument.”
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<br />Herseth says nothing about air (fat, fast, slow etc.) or embouchure (tension, relaxation, or mouthpiece placement)!
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<br />The highest level of musical awareness is achieved by repetitions (sets of three) of vocalizing and buzzing away from the influence of the instrument. When we play the mouthpiece alone, we must maintain the same internal mental singing that is required for external vocalization. The only thing that is different when buzzing the mouthpiece is that we substitute lips for vocal chords.
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<br /><span style="font-weight:bold;">Roccoisms</span> - “I gave up tuba playing a long time ago. Now I play an 18ft. mouthpiece with valves.”
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<br />“Play the mouthpiece, not the instrument.”
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<br /><span style="font-weight:bold;">THE COMMITMENT</span>
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<br /><span style="font-weight:bold;">Roccoisms</span> - “The level of tone production on an instrument is equal to the level of the player’s mental commitment to the sound of the music.”
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<br />“The subconscious mechanics required to play an instrument are motivated by the musicians conscious musical awareness, not the reverse.”
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<br />“The highest level of musical awareness is achieved while singing vocally or mentally singing when playing an instrument.”
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<br />“Transcend your instrument with a powerful awareness of the sound you want to produce.”
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<br /><span style="font-weight:bold;">Arnold Jacobs</span> - “I always believe that it’s important to be somewhat unconscious of our physical maneuvers but highly conscious of our musical goals.”
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<br />“The key to success, playing an instrument, can be found in speech.”
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<br /><span style="font-weight:bold;">FOLLOW THE YELLOW BRICK ROAD</span>
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<br />A high level of musical awareness is required to transcend all influences such as the feel of chops, or the negative conditioning associated with the instrument. I have developed a very basic formula that elevates the musician’s musical awareness.
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<br /><span style="font-weight:bold;">Roccoism</span> - “My students and I have failed to apply the <span style="font-weight:bold;">SING, BUZZ, PLAY</span> formula. However, when we did apply it, it has never failed us.”
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<br />1. The Repetition of Three - Sing vocally and Buzz the mouthpiece in any combination of three repetitions. Familiar musical phrases should be buzzed loudly to encourage tone production. Midrange transposition may be used if the music is too high or low to achieve a resonant sound.
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<br />Example - Sing 1X - Buzz 2X; Sing 2X - Buzz 1X; Buzz 3X etc.
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<br />2. Repeat the sets as necessary until you are able to transfer the singing and buzzing to the instrument. Sometimes only a single repetition of singing or buzzing is necessary.
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<br />3. The ultimate goal is maintain mental singing while playing without any preparatory repetitions.
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<br />4. The commitment to mental singing must be total, without any other considerations or concerns, such as air, embouchure, or fingering (slide).
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<br />5. Applying this formula, a history of success must first be achieved in the practice room. As the player experiences more success, their expectation of success will grow.
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<br /><span style="font-weight:bold;">Roccoisms</span> - “Your subconscious mind already knows how to play the notes. It only needs to be highly aware of the notes you want to play.”
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<br />“We always realize our expectations, positive or negative.”
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<br />“Ben Franklin said, "The only truths in the world are death and taxes. There is a third truth. <span style="font-weight:bold;">SING, BUZZ, PLAY<span style="font-weight:bold;"></span></span>”
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<br />“There is no reason for your success or failure other than your state of mind.”Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com4tag:blogger.com,1999:blog-5301079526041772488.post-76969262921236433172010-04-20T17:59:00.000-07:002010-04-21T16:27:29.752-07:00The Teacher<span style="font-weight:bold;">ROCCOISMS</span><br /><br />“The primary job of a teacher is to create opportunities for success.”<br /><br />“The most important student of any teacher is the one they see in the mirror.”<br /><br />“A great teacher has an opportunity to influence other lives in a profound way.”<br /><br />“There are many who can play instruments very well. However, a great teacher is very rare.” <br /><br /><span style="font-weight:bold;">ARNOLD JACOBS</span><br /><br />“I hope to be remembered for my teaching more than my playing.”<br /><br />As a young musician, I first learned of the great power of teachers to influence lives when they influenced mine. I was fortunate to have wonderful teachers in my early in my career. Jake was the most influential but there were many others. Some, like Adolph Herseth and Ed Kleinhammer, taught me by example. I never had a formal lesson, but I had profound opportunities to learn from them whenever I was in their presence.<br /><br /><span style="font-weight:bold;">THE MOST IMPORTANT THING I EVER LEARNED FROM JAKE AND THE OTHERS WAS MUSICAL AND PROFESSIONAL INTEGRITY.</span><br /><br />A student at Vandercook College of Music once asked, “Mr. Rocco, Why are you such a great teacher?” I responded, “Because I was lucky to have great teachers myself.” I have always considered my work training teachers to be the most important of my career.<br /><br />I once attend a lecture given by a teacher who was the recipient of “The Golden Apple Award” for his excellence in education. He spoke of the advice his mother, also a teacher, gave him when he was considering entering the education profession. She advised, “If you love history, become a college professor. If you love children, become a teacher.”<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“There is a profound difference between the subject we teach and to whom we teach it.”<br /><br />“A great teacher must love their students more than what they are teaching.”<br /><br />We have all experienced learned scholars, who have extensive knowledge of their subject, but are poor teachers. Most often, that’s because they love their field of study more than their students. <br /><br />It is understood that someone who teaches music must love music. The challenges of trying to make a living in the music profession are a test of that love. However, it is a fact that some teach music because it’s not possible for them to perform professionally. They may be highly accomplished musicians but the professional performance opportunities do not exist.<br /><br />Sometimes, these unhappy performers become unhappy teachers as well. Unfortunately, they also end up with unhappy students.<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“Always remember that the students in your studio, classroom, or rehearsal room are not there for your benefit. They are in your care to receive the experience of music. When you provide that experience for your students, you will also receive a great benefit.”<br /><br />“As a teacher, you must continue to develop your personal performance skills. If you stop playing your instrument, you will forget why you have a career in music.” <br /><br />“Let the music be your most powerful guide in teaching. If you listen carefully, it will tell you everything you need to know.”<br /><br />“Sound motivates function.”<br /><br />“The question heard most often by any music teacher is, “How does this go?”<br /><br />H.E. Nutt <br /><br />“To teach is to learn twice.”<br /><br />In November 2005, The Instrumentalist magazine featured me in an article about a brass player who has success teaching string and woodwind instruments. I mention that, “My students know much more about their instruments than I do. However, I know much more about the music. That’s all I need.”<br /><br />Everything I do as a teacher in a classroom, rehearsal room, or lesson studio is about helping my students develop a higher awareness of the music they are attempting to play. I consider my lack of technical knowledge to be an advantage because I’m not distracted from the music. Most importantly, I’m not distracting my students either.<br /><br />Recently, one of the violinists in the Mother McAuley High School Orchestra asked, “Mr. Rocco, why don’t you ever say anything about the violin? You only talk about the music.” <br /><br />I replied, “Be thankful because you already know a lot about the violin. It’s the music that you need to know more.”<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“If your heart is not pounding in your chest from the thrill of what you just played, you must see your doctor. There’s something wrong.”<br /><br />“Take what you learned and experienced with you. Don’t leave a single crumb on the floor.”<br /><br />“I know what it is like to be a suffering brass player. Fortunately, I also know the joy of playing well. Suffering is not a requirement in order to experience the joy, but it’s an inevitable outcome for someone who does not know how to create success.”<br /><br /><span style="font-weight:bold;">THE JACOBS LEGACY</span><br /><br />Since his death in 1998, I have heard this remark on many occasions. <br /><br />“I’m experiencing problems in my playing. I wish that Jake was still around.”<br /><br />Yes, we have lost Jake's personality and the twinkle in his eyes. However, his spirit and knowledge are still with us because it lives within the many devoted students he left behind. <br /><br />If you need help, ask for it anytime! (rogrocco@aol.com)Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com1tag:blogger.com,1999:blog-5301079526041772488.post-67891777803833295862010-04-14T17:12:00.000-07:002010-04-16T20:07:35.228-07:00"The Think System"<span style="font-weight:bold;">
<br />HAROLD HILL</span>
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<br />“Nobody has to teach you how to whistle. It’s really very simple. You just have to think the tune to have it come out perfectly clear.“
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<br />H.A. VANDERCOOK</span>
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<br />“Keep it simple.”
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<br />“If you can sing it, you can play it.”
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<br />On several occasions, graduate students at Vandercook College of Music said, “Mr. Rocco, you are teaching “The Think System” from “The Music Man!” I was very familiar with the music, but I knew nothing about the plot.
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<br />Eventually, I had an opportunity to conduct “The Music Man” so naturally, I studied the libretto. When I discovered “The Think System”, I almost fell off my chair! Yes, I had been teaching “The Think System” for years. Also, it was nothing more than the two most important mantras of H. A. Vandercook that I had known and encouraged with my students for many years.
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<br />I immediately knew that there must have been a link between Meredith Willson and H.A. Vandercook. I asked the school historian to do some research. An hour later, he very excitedly showed me a student registration form for Stanley Willson (horn, 1941), Mason City, Iowa. Bingo!
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<br />I also knew that eventually I needed to link Stanley to Meredith. However, I was positive “The Think System” was influenced by Vandercook.
<br />
<br />As time passed, I repeated the story to many of my graduate brass pedagogy classes. One year, a student asked, “Mr. Rocco, Why don’t we make the link between Stanley and Meredith a class research project?” I replied, “Great idea!” The next day, the same student reported that Stanley and Meredith were cousins. Bingo again!
<br />
<br />Later, two of my students, now colleagues, presented me with an original program from the first production of “The Music Man”. It is autographed by the entire cast, and Meredith Willson. WOW!
<br />
<br /><span style="font-weight:bold;">Recently, one of those students, who has won positions with two major American orchestras, sent me the following email.</span>
<br />
<br />In my years of playing and teaching horn, I have learned a few truths about auditions. Many are culled from personal experience and feedback from committee members, but others are learned from Arnold Jacobs and Roger Rocco. None of these maxims are especially original, but they seem to be profound keys to success.
<br />
<br />Audition truths
<br />
<br />#1) Make it sound easy. Let them wonder what you can't do, so don't show them.
<br />
<br />#2) Treat the audition like a performance. Be expressive and tell a story.
<br />
<br />#3) Let insistence on great pulse frame your singing.
<br />
<br />#4) Live in the moment, from your first waking moment that day
<br /> till your last note played. Don't look ahead or behind.
<br />
<br />#5) Be a singer, not a horn player.
<br />
<br />#6) It is vastly more essential to be mentally committed than
<br /> physically prepared.
<br />
<br />#7) Overcome distractions!
<br />
<br />All of these proved themselves at the semis and finals of a
<br />recent major orchestra audition. Adversity and distractions
<br />came in the form of equipment failure. In short, I was forced
<br />to use three strange instruments, as my own horn had a sudden
<br />de-soldering of the thumb key early in the day.
<br />
<br />I borrowed two horns from fellow hornists, and even one horn
<br />from a committee member as I walked onstage. I was able to
<br />perform at a high level due entirely to my state of mind.
<br />Roger had emailed me a day earlier with a mantra: "It's
<br />just the singing!" This phrase rang through my head as I
<br />walked onstage: "It's just the singing!" I picked up the
<br />strange horn, and right before I committed to the first
<br />E-flat of the Strauss First Concerto: "It's just the
<br />singing!" How the horn responded was entirely meaningless
<br />to me, as I was in what Jake called "storyteller" mode.
<br /><span style="font-weight:bold;">
<br />"It's just the singing!" </span>
<br />
<br />I didn't have the time to test the horn to know if it
<br />were a larger bore size, more or less resistant to mine,
<br />or even how loudly I could play without the sound edging
<br />out. These facts are always irrelevant, and more so on
<br />this day. I controlled what I could: my state of mind.
<br />
<br />I am reminded of the story Roger tells of the man
<br />drowning in a pool. His friend holds two items: one a
<br />brick, the other a life preserver. He tells you the life
<br />preserver will save you, but you have never seen one.
<br />You have however seen bricks, as your house is made of
<br />them, and feel comfortable with them.
<br />
<br />Which one would you choose? The bricks (history of feel)
<br />or the life preserver (singing)?
<br />
<br />I had no choice, and in hindsight the horn breakdown
<br />was a blessing, as it forced me to focus and showed the
<br />committee I could deal with extreme adversity.
<br />
<br />Made for a memorable day, one that ended in success
<br />that I can now draw on for future use. I must say,
<br />in hindsight, though, the distractions presented by
<br />foreign horns is nothing compared to the distractions
<br />of our history of playing by feel.
<br />
<br /><span style="font-weight:bold;">"It's just the singing!"</span>
<br />
<br /><span style="font-weight:bold;"THE PLOT OF <span style="font-style:italic;">THE MUSIC MAN</span></span>
<br />
<br />Harold Hill, the main character, is a crook. He decides to swindle the people in a small town (Mason City, Iowa) by telling them that he’s a famous professor of music. If they purchase instruments and uniforms, he promises to develop a band program. He has no intention of doing anything other than skipping town with their money.
<br />
<br />However, he meets and falls in love with the town librarian, Marion. He decides that he wants to stay after all. As a result, he must order instruments and uniforms and teach the band how to play their new instruments. Since his educational credentials are false, he doesn’t really know what to do. After the instruments and uniforms arrive, he comes up with a “revolutionary new method of teaching music called, ‘The Think System’.”
<br />
<br />At the first band rehearsal, and all subsequent rehearsals, Harold only asks the band to vocally sing the familiar <span style="font-style:italic;">Minuet in G</span> by Beethoven. The band members are never asked to play their instruments because he doesn’t know how to instruct them.
<br />
<br />In time, the parents become suspicious and investigate his educational credentials. They eventually learn that there is no Music Conservatory in Gary, Indiana and that he must be a criminal. Just as the townspeople are about to have him arrested, the band marches into the scene.
<br />
<br />Harold instructs the band to “Think” as they play the same music they have been singing endlessly. What is heard the first time they play their instruments, is crude but the melody is recognizable. It proves that Harold is not a phony after all. Yes, “The Think System” works!
<br /><span style="font-style:italic;">
<br /><span style="font-weight:bold;">PSYCHO-CYBERNETICS</span> by MAXWELL MALTZ</span>
<br />
<br />“The mechanisms of success and failure are the same.”
<br /><span style="font-weight:bold;">
<br />THE SELF IMAGE<span style="font-weight:bold;"></span></span>
<br />
<br />Maxwell Maltz was a plastic surgeon who discovered the self image by accident. He noticed that as he surgically altered the appearance of his patients, their reaction to the cosmetic changes could be categorized into one of three groups.
<br />
<br />1. Some of the patients experienced life altering changes. Many became more successful in their careers or they found love and married.
<br />
<br />2. Others experienced no life changes whatsoever.
<br />
<br />3. Although their appearance had been dramatically altered, the third group could not recognize any physical change when they viewed themselves in a mirror.
<br />
<br />His observations eventually lead to our understanding of the mind’s ability to consciously create imagery or awareness of ourselves, any object, or sound. This imagery, commonly referred to as “Creative Visualization”, is a powerful force because it motivates a powerful response from the subconscious mind.
<br />
<br />Maltz describes how the power of visualization can be used to create accomplishment. He tells the story of a famous golf teacher who said, “If I concentrate only on where I want the ball to go, it will go there even if I’m doing everything wrong mechanically.”
<br />
<br /><span style="font-weight:bold;">ARNOLD JACOBS</span>
<br />
<br />“I don’t care if everything you are doing is wrong if it sounds good.”
<br />
<br />The obvious response to Jake’s statement is that if it sounds good, if can’t be wrong.
<br /><span style="font-weight:bold;">
<br />ROBERT CARTER (<span style="font-style:italic;">The Secret of the Ages</span>) </span>
<br />
<br />“Our conscious awareness is the gateway leading to the subconscious mind.”
<br />
<br />“The Secret of the Ages is in the power of the subconscious mind.”
<br />
<br /><span style="font-weight:bold;">SHINICHI SUZUKI</span>
<br />
<br />“We can learn to play an instrument the same way we learned to speak language.”
<br />
<br /><span style="font-weight:bold;">ARNOLD JACOBS</span>
<br />
<br />“I sing the notes in my head as I play them.”
<br />
<br />“I want you to have the (simplistic) mind of a child.”
<br />
<br /><span style="font-weight:bold;">ROCCOISM</span>
<br />
<br />“Playing an instrument, or doing anything else, requires complex physical mechanics. However, we must use a simplistic approach to create accomplishment.”
<br /><span style="font-weight:bold;">
<br />BARRY GREEN (<span style="font-style:italic;">The Inner Game of Music</span>) </span>
<br />
<br />“Wouldn’t you like to function on your instrument with the ease of a six year old child?”
<br /><span style="font-weight:bold;">
<br />TWO DIFFERENT WORLDS</span>
<br />
<br />We exist in two different worlds. There is the external world that we are partially aware of through our senses. I say partially aware because we can detect only a small portion of the spectrum of light with our eyes and a very limited range of frequency with our ears. There is a lot going on around us in the external world but we have little or no awareness of its presence.
<br />
<br />There also is a unique and powerful internal universe within our bodies. This universe provides the opportunity for us to live and function in the external world. At the conscious level, we have very little awareness of this internal world unless something goes wrong. We usually experience pain or some other discomfort.
<br />
<br />However, the internal universe is masterfully monitored and controlled at all times by our subconscious mind in order to maintain life. It also allows our conscious mind to create accomplishments other than for life support. Although it can be argued that everything we do in the external world such as maintain a job, exercise, or acquire food is also to provide for our life support.
<br />
<br />The subconscious mind developed immense power because the complexities of life support are much more demanding than what even the most powerful computers can achieve. The subconscious mind also has complete awareness and control over all the muscles within the body.
<br />
<br />For instance, we understand that at all times, our heart is pumping blood, food is moving through our bodies, and we are breathing without any conscious direction. However, these functions are continuously being directed by the subconscious mind. Life support cannot be sustained without specific direction from the brain.
<br />
<br />If we decide to move an arm and hand to pick up a glass of water, the decision of how to manipulate the body parts takes place subconsciously in response to our conscious desire to pick up the glass. It is not necessary to have an intellectual understanding of the complex motor mechanics involved in manipulating body parts.
<br />
<br /><span style="font-weight:bold;">ROCCOISMS </span>
<br />
<br />“When we attempt to bring a subconscious function to the conscious level of thought, we destroy our ability to function.”
<br />
<br />“Our approach to playing an instrument should be no different than the approach we use to do anything else like walking or talking.”
<br />
<br />“We must maintain a symbiotic relationship between the subconscious (reactive) mind and the conscious (intellectual) mind. If that relationship is corrupted by our conscious interference, we lose the ability to create any accomplishment.”
<br />
<br /><span style="font-weight:bold;">ADOLPH HERSETH</span>
<br />
<br />“Paralysis by Analysis.”
<br />
<br />“Think sound not mechanics.”
<br /><span style="font-weight:bold;">
<br />ARNOLD JACOBS</span>
<br />
<br />“The key to playing an instrument can be found in speech.”
<br />
<br />“It is best to be somewhat unconscious of our physical maneuvers, but highly conscious of our musical goals.”
<br /><span style="font-weight:bold;">
<br />THE LADDER OF AWARENESS</span>
<br />
<br />The subconscious mind is reactive not intellectual. It always responds honestly and precisely to the will of the conscious mind, which is intellectual. If the will of the conscious mind is powerful and vivid, the response of the subconscious will be precisely the same. The subconscious mind cannot react independently of the conscious will. We cannot consciously decide to lift our right hand and have the subconscious mind lift the left hand instead.
<br />
<br />Problems arise if the subconscious vision of the conscious awareness is vague, confused, or non-existent. This motivates the subconscious mind to react by searching for sound rather than responding to a vivid awareness of sound. We must motivate the subconscious mind to respond through motor systems rather than search utilizing sensory systems.
<br />
<br /><span style="font-weight:bold;">ARNOLD JACOBS</span>
<br />
<br />“You cannot create accomplishments using sensory system. You must motivate motor (muscle) systems.”
<br />
<br />“The nervous system is a one way street. You cannot create function motivating sensors and muscles at the same time.”
<br />
<br /><span style="font-weight:bold;">ROCCOISMS</span>
<br />
<br />“If you don’t have a powerful conscious awareness of the sound you want to produce, your subconscious will react by searching for the awareness somewhere else. Since the mouthpiece is on your lips, it will attempt to create a feel awareness of sound by trying to convert your lips into ears.”
<br />
<br />“The most powerful musical awareness is achieved when we mentally sing the notes as we play them.”
<br />
<br />“Mentally singing as we play may seem like a complicated or difficult thing to do, but it’s easy if you are highly aware of the notes.”
<br />
<br />If we ask a child to buzz the familiar tune, “<span style="font-style:italic;">Mary had a little Lamb</span>” on a mouthpiece, they are singing the notes in their head as they play them. It requires no instruction or conscious understanding of how it’s achieved. They just do it! If we ask them to buzz an unfamiliar melody, they don’t do it. The most common question any music teacher ever hears is, “How does this go?”
<br />
<br />Instinctively, young music students know that they can play the music if they know how it should sound. When I’m working with young inexperienced musicians, most of what I do to create accomplishment is to communicate what the music should sound like. Once that awareness is powerfully envisioned at the conscious level of thought, their subconscious reacts by doing what is necessary mechanically to realize their musical awareness.
<br /><span style="font-weight:bold;">
<br />“THE THINK SYSTEM”</span>
<br />
<br />It’s nothing more than creating and maintaining a high level of musical awareness in the conscious mind. The subconscious will react precisely to create the necessary playing mechanics rather than search for sound awareness by feel at the embouchure.
<br />
<br /><span style="font-weight:bold;">ROCCOISMS</span>
<br />
<br />“Attempting to play by feel is like trying to drain the water from a swimming pool with a straw.”
<br />
<br />“Feel and fail are four letter words to a brass player.”
<br />
<br />“Your subconscious mind already knows how to play the notes. It only needs to know the sound of the notes you want to play.”
<br /><span style="font-weight:bold;">
<br />TOXIC SELF ANALYSIS – BEWARE THE ANALYZERS!</span>
<br />
<br />Some people naturally have analytic personalities. Unfortunately, some students have analytic teachers as well. Occasionally, I have also noticed that some analytic teachers are not analytic players themselves. And, some analytic players are not analytic teachers. The most paralyzing situation is the combination analytic player and teacher instructing an analytic student. Disastrous!
<br />
<br />Often, analytic students are drawn to analytic teachers because they are searching for false comfort rather than an opportunity for success.
<br />
<br /><span style="font-weight:bold;">ROCCOISMS</span>
<br />
<br />“When you have an instrument in your hands, trying to find a “The Comfort Zone” is ultimately very uncomfortable.”
<br />
<br />“Feeling good when you play is a by-product of correct playing. You cannot motivate correct playing by trying to feel good first.”
<br />
<br />I remember when I was teaching applied tuba and euphonium at a major mid-west university. Frequently, groups of other brass students (trumpet, horn, trombone) would camp outside my studio door to listen to what was going on in the lesson. Some of the analyzers did not credit “The Think System” for the success they were hearing through the closed door.
<br />
<br />A typical comment was, “That’s baloney!” “They have figured out what’s wrong with their embouchure and air, and eventually I will too!” Tragically, I have also heard such comments from highly accomplished professional brass players who eventually lost their careers.
<br />
<br /><span style="font-weight:bold;">ADOLPH HERSETH</span>
<br />
<br />“There’s nothing wrong with your chops. Your mind is messing them up.”
<br />
<br />“Sound is the criterion for how we do this and that.”
<br /> <span style="font-weight:bold;">
<br />“THE THINK SYSTEM” + EMBOUCHURE AND BREATH ANALYSIS + TONGUE + FINGERS?</span>
<br />
<br />I have also heard such critical commentary as, “Yes, you must hear the notes, but you must also have a perfect embouchure and air.”
<br />
<br /><span style="font-weight:bold;">WHAT IS NOT UNDERSTOOD BY MANY BRASS PLAYERS AND THEIR TEACHERS IS THAT CONSCIOUS AWARENESS OF SOUND MOTIVATES A PERFECT EMBOUCHURE AND AIR.
<br />
<br />ANALYSIS OF BODY PARTS AND UNDETECTABLE AIR MOTIVATE PARALYSIS!
<br /></span>
<br /><span style="font-weight:bold;">ROCCOISMS</span>
<br />
<br />“When you accept “The Think System”, you must also reject self analysis. Like oil and water, the two can never come together. If you try to combine them, self analysis will always dominate and you will fail.”
<br />
<br />“It is possible to have only one conscious thought at a time.”
<br /><span style="font-weight:bold;">
<br />“FOLLOW THE YELLOW BRICK ROAD”</span>
<br />
<br />The path to achieving success in Emerald City is not green, blue, or red. When the true path to success is clearly understood, we only have to stay on that path. The process of searching for other paths always leads to “The Witches Castle!”
<br />
<br /><span style="font-weight:bold;">SING, BUZZ, PLAY</span>
<br />
<br />The SBP formula was develop in order to directly apply “The Think System” in a powerful way.
<br /><span style="font-weight:bold;">
<br />ROCCOISMS</span>
<br />
<br />“At times, my students and I have failed to apply the SBP formula. But the formula has never failed anyone when it was applied.”
<br />
<br />"If someone understands how to perform, they can play on any equipment. If they don't know how to perform, they can't play on anything."
<br />
<br />"If you are not playing well, it's because you have stopped doing what you normally do when you do play well."
<br />
<br /><span style="font-weight:bold;">ADOLPH HERSETH</span>
<br />
<br />“When encountering problems technically or musically, first sing then buzz. Transfer the singing and buzzing to the instrument.”Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com2tag:blogger.com,1999:blog-5301079526041772488.post-82737504134559594992010-03-31T18:50:00.000-07:002010-04-01T20:08:36.478-07:00The Myths of Focal Dystonia<span style="font-weight:bold;">FOCAL DYSTONIA</span> (Wikipedia.org) <br /><br />“A neurological condition that causes the involuntary contraction of muscles.”<br /><br />Focal dystonia is a common, but incorrect application of the term describing the paralyzing condition experienced by too many instrumentalists and singers. The condition is very rarely involuntary contraction of muscles. Most often, it’s involuntary paralysis of muscles. <br /><br /><span style="font-weight:bold;">ADOLPH HERSETH</span><br /><br />“There’s nothing wrong with your chops. Your mind is messing them up.”<br /><br />I recall the time I first met a very fine professional trumpet player who came to me for help with the paralysis he was experiencing when he tried to play. He was in danger of losing his job as principal of a second tier American orchestra.<br /><br />His first words to me were, “Roger, I have bad news. I just came from the doctor and he told me there’s nothing wrong with my chops.” I replied, “That’s the good news!” <br /><br />In 1976, while I was a member of the Seattle Symphony, I personally experienced total paralysis when I attempted to play the tuba. The condition developed over a period of about two years. It took me two years to recover well enough to play again professionally. Like a person with a history of substance abuse, I have been in recovery ever since. However, recovery from such a devastating hell can be a wonderful learning opportunity! It’s a life altering experience similar to someone who recovers from a near fatal illness. <br /><br />Unfortunately, very few musicians recover because they don’t understand the cause of the condition and they don’t know what to do about it. Frequently, they are advised by the medical or educational communities to give up their careers because there is no treatment. I have heard of some ill advised treatments such as cortisone injections in the lips. <br /><br />I have watched some of the finest musicians in the world give up their careers because they believed what they were being told. I have helped myself and many others resume their careers. <br /><br /><span style="font-weight:bold;">THE MYTHS</span> <br /><br />1. The paralysis is physical rather than psychological.<br />2. The paralysis is not treatable.<br /><br /><span style="font-weight:bold;">CASE STUDY</span><br /><br />A few years ago, I received a call from a very fine flutist who I first met when she was as a high school student. She was in her forties and had a professional career for many years. She told me that she had seen doctors and flute teachers all over the world. She was told she had focal dystonia.<br /><br />I asked her to describe her physical symptoms. She replied, “There is pain in my right hand and it is paralyzed. I can barely finger the instrument” I asked, “Are these symptoms present only when you play the flute?” She responded, “Yes!” I immediately understood that she did not have a physical problem with her hand. The problem was psychological.<br /><br />I remember asking her two important questions:<br /><br />1. How long have you experienced symptoms of pain and paralysis? She responded,<br />"Fifteen years!"<br /><br />2. What were you doing professionally fifteen years ago? "I was giving eighty private flute lessons per week."<br /><br />It became obvious that she was influenced by the elementary level playing she was experiencing endlessly. <br /><br />JAY FRIEDMAN<br /><br />"After a day of giving lessons, I sound more and more like my students." <br /><br />As the quality of her playing deteriorated, she became anxious and unhappy. She tried to treat the symptoms of her deteriorating tone and technique. Eventually, the flute became a "hot stove". Her subconscious mind reacted to prevent further emotional pain by creating paralysis and physical pain in her right hand. The protective reaction was no protection because it greatly exacerbated the condition.<br /><br />I brought her back to the music by having her vocally sing and finger the flute. Interestingly, she had no pain in her hand unless she fingered and played the flute.<br /><br />Essentially, I applied the SBP formula without the buzzing. When she was able to maintain mental singing as she played, her hand functioned without pain. As she repeated the singing and fingering process, her playing returned to normal and she was able to renew her professional career. <br /><br />Adolph Herseth understood that the lower performance level of students could have a negative influence on his playing. He always said that his first duty was as principal trumpet of the Chicago Symphony so he limited his private lessons to a few select students. <br /><br /><span style="font-weight:bold;">SYMPTOMS OF INVOLUNTARY PARALYSIS</span><br /><br />Since no one intentionally wills paralysis when playing an instrument or doing anything else, all muscle paralysis is involuntary. Most often, involuntary paralysis occurs in the hands of woodwind, string, and keyboard players, and with the embouchure, tongue, or breathing of brass players. <br /><br />Most musicians and teachers make the mistake of attempting to treat the symptoms rather than the cause of paralysis. Misdiagnosis always leads to greater paralysis and more failure.<br /><br />The first symptom of paralysis for woodwind, string, and keyboard players is usually pain in their hands or their inability to finger technical passages that were easy in the past. The first symptom for brass players is usually their inability to play initial notes in rhythm. Later, accuracy and range gradually diminish. I frequently notice that brass players, who have advanced stages of involuntary paralysis, can no longer function in their midrange or lower register. They may retain some function in their upper register.<br /><br />Since this condition takes some time to develop, I have never seen it in beginners. It can be somewhat common in intermediate musicians, but the worst cases I have encountered are in highly accomplished professionals. <br /><span style="font-weight:bold;"><br />ROCCOISMS</span><br /><br />“Most people never realize their dreams because they are paralyzed by fear of failure.”<br /><br />“Fear is motivated by an expectation of impending doom. It can only be controlled by altering the expectation.”<br /><br />“If you are fearful because you are standing at the edge of a 1000 foot cliff, step back from the edge of the cliff.”<br /><br /><span style="font-weight:bold;">ADOLPH HERSETH</span><br /><br />“A trumpeter’s life is risky business. No greatness can be achieved if the player is paralyzed by fear.”<br /><br />“If you are fearful when you play the trumpet, you should consider not playing it.”<br /><br /><span style="font-weight:bold;">BARRIER OF FEAR</span><br /><br />The emotion of fear is a subconscious protective reaction to an expectation of physical or emotional harm. It cannot be controlled by the conscious mind. If we say to someone or ourselves, “relax” or “Don’t be afraid”, they usually become more aware of their fear and even more fearful.<br /><br /><span style="font-weight:bold;">CONDITIONED REFLEX</span><br /><br />Physical and emotional experiences while playing eventually become associated with and influenced by the instrument. <br /><span style="font-weight:bold;"><br />PAVLOV’S DOG</span><br /><br />Most people are familiar with the experiment of the salivating dog and bell by the well known Russian behavioral psychologist. He rang a bell each time he provided food to a dog. In time, a powerful association developed between food and the sound of the bell. Eventually, the sound of the bell alone caused the dog to salivate even though no food was present.<br /><br /><span style="font-weight:bold;">THE HOT STOVE</span><br /><br />From experience, everyone eventually learns that touching a hot stove is a harmful and unpleasant experience. When it occurs, we don’t have a conscious intellectual decision about what to do next. We don’t think, “This is very uncomfortable and harmful, what should I do about it?”<br /><br />There is a powerful protective reaction is the subconscious <br />(Mark Douglas, <span style="font-style:italic;">Trading in the Zone</span>)that immediately overrides the conscious will, causing the hand to move away from the hot stove. It’s almost impossible to prevent this subconscious reaction from occurring. <br /><span style="font-weight:bold;"><br />NEGATIVE AND POSITIVE CONDITIONING</span><br /><br />The instrumentalist’s emotional and physical experiences eventually become associated with the instrument they are holding for endless hours. If the history is dominated by failure, they will develop and expectation of failure. Unfortunately, a brass player receives a double dose of negative conditioning from their failure. They experience both emotional pain and physical discomfort. The protective reaction in the subconscious reacts powerfully to both in the same manner. <br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“We always realize our expectations.”<br /><br /><span style="font-weight:bold;">SABOTAGE!</span><br /><br />Unfortunately, the subconscious mind reacts to protect us from experiencing the emotional and physical pain of failure by causing paralysis. This is no different than the paralysis that prevents us from touching the hot stove. In time, the instrument becomes a hot stove! <br /><span style="font-weight:bold;"><br />THE CONFLICT BETWEEN THE CONSCIOUS WILL (INTELLECT) AND THE SUBCONSCIOUS (REACTIVE) MIND.</span><br /><br />Consciously, the musician wants to create the mechanics necessary to play their instrument. Subconsciously, their mind wants to protect them from experiencing the emotional pain and physical discomfort of failure. This antagonistic relationship always results in increased failure and an even greater expectation of failure. The downward spiral eventually leads to total paralysis if the condition is not alleviated.<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“The subconscious mind is infinitely more powerful than the conscious will. If there is conflict between the two, the subconscious will always win the battle.”<br /><br />“When playing an instrument or doing anything else, we must always achieve a symbiotic, rather than an antagonistic relationship, between the conscious and subconscious mind.” <br /><br /><span style="font-weight:bold;">ROBERT CARTER</span> (<span style="font-style:italic;">The Secret of the Ages</span>)<br /><br />“The conscious mind is the gateway providing information to the subconscious.”<br /><br /><span style="font-weight:bold;">CASE STUDY</span><br /><br />I received a call from a very fine professional horn player in Chicago. He had been performing in the pit orchestra for a very successful show that had been running for several years. He said, “I have been on vacation from the show for the past two weeks. My playing has deteriorated to the point where I don’t think I can continue.”<br /><br />Although we had never met, I immediately understood what was going on. Because he had been performing the same music eight times a week for several years, he began to play less mindfully. His playing became somewhat “automatic” or on “autopilot”. As a result, he opened the door for failure to make an appearance. The feel of symptoms of failure became increasingly dominant while his awareness of the music faded away.<br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“In addition to the poor sounds coming from the bell, the brass player also experiences physical symptoms associated with their failure.”<br /><br />A friend colorfully describes the physical symptoms. “It feels like I’m trying to push a piano up the stairs when I play my trumpet.”<br /><br />It’s normal for us to try to alleviate such uncomfortable physical symptoms, which usually manifest themselves in the embouchure, breathing, and sometimes the throat.<br /><br /><span style="font-weight:bold;">ADOLPH HERSETH</span><br /><br />"Sound is the criteria for how we do this and that."<br /><br />The horn player described the physical problems with his embouchure that he was trying to correct. Of course, I immediately understood that source of his symptoms was not in his embouchure. It was in his “state of mind.” <br /><br />We spoke in the phone for an hour. I explained his embouchure malfunction was only symptomatic of problems in his conscious mind. He needed to restore his dominance to musical awareness rather than “feel” awareness.<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“Feel and fail are four letter words to a brass player.”<br /><br />“Playing by feel is like trying to drain a swimming pool with a straw.”<br /><br />“If your playing is not motivated by a powerful awareness of sound, you will attempt to motivate it with a weak sense of feel. Failure will be the only possible outcome.”<br /><span style="font-weight:bold;"><br />SING, BUZZ, PLAY</span><br /><br />I instructed him to apply the SBP formula in sets of three repetitions until he was able to restore his ability to execute playing mechanics normally. It is important to understand that I did not discuss playing mechanics. <br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“Playing mechanics cannot be motivated by the conscious will because the motor skills are much too complex for the intellectual mind. Playing mechanics can only be achieved by the powerful subconscious (reactive) mind.”<br /><br />“Your subconscious mind already knows how to execute the notes. Your conscious mind only needs to be highly aware of the notes you want to play, not mechanics.” <br /><span style="font-weight:bold;"><br />I ASKED HIM TO CONSCIOUSLY FOCUS ONLY ON THE MUSICAL SOUNDS HE WANTED TO PRODUCE.</span><br /><br />The knowledge of how to produce sound was established in his mind many years ago. And, it was still present but it needed to be motivated by his powerful awareness of sound. <br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“It is sound motivates function, not function motivates sound.”<br /><br /><span style="font-weight:bold;">ARNOLD JACOBS</span><br /><br />“The seventh cranial nerve transmits my musical thoughts to my lips, but I don’t know a thing about how it happens.”<br /><br />“I was a good brass player until my first analytical teacher came along and attempted to teach me how to play.”<br /><span style="font-weight:bold;"><br />ADOLPH HERSETH</span><br /><br />“Think sound, not mechanics.”<br /><br />I’m happy to report the horn player did return to the show successfully. Over a period of three years, he had about six lessons. He is now performing at the highest level of his career.<br /><br /><span style="font-weight:bold;">TREATMENT vs. CURE</span><br /><span style="font-weight:bold;"><br />ROCCOISMS</span><br /><br />“All our life experiences are stored in long term memory forever. Memory cannot be deleted like files in a computer.” <br /><br />“We cannot erase our past. It must be replaced.”<br /><br />“Being chased by a tiger is fatal only if you cannot outrun it.”<br /><br />“There is no cure for our bad habits. There is a treatment, which is to create new habits that dominate the old. However, if we discontinue treatment, without fail, the old habits will reemerge.” <br /><br />“The bad news is that there is no cure for your paralysis. The good news is that it’s treatable and you will be able to continue your career. If you are highly motivated, you will emerge from this experience performing at new levels of excellence.”<br /><br />“If you want to understand what I’m teaching you, teach it to someone else.”<br /><br /><span style="font-weight:bold;">H.E. NUTT</span><br /><br />“To teach is to learn twice.”<br /><span style="font-weight:bold;"><br />“THE FINALE ULTIMO”</span><br /><br />1. The paralysis experienced by so many highly accomplished musicians is treatable.<br /><br />2. The treatment does not involve medications or injections.<br /><br />3. Playing skills that were present before paralysis occurred, are stored in long term memory.<br /><br />4. It is not necessary to relearn our playing skills. We only have to understand how to access the skills that have not disappeared.<br /><br />5. Playing mechanics are motivated, at the subconscious level of the mind, by a brass player’s conscious awareness of musical sound.<br /><span style="font-weight:bold;"><br />ARNOLD JACOBS</span><br /><br />"The brass player should be somewhat unconscious of their physical maneuvers but highly conscious of their musical sound."<br /><br />"I sing the notes in my head as I play them. It doesn't matter how my lip feels or how I feel."<br /><br />"It's not what you sound like that's important. What is important is what you want to sound like."<br /><br /><span style="font-weight:bold;">MAXWELL MALTZ</span> (<span style="font-style:italic;">Psycho Cybernetics</span>)<br /><br />“The mechanisms of failure and success are the same.”<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“Climbing the ‘Ladder of Awareness’ of sound will bring you to the notes you want to play.”<br /><br />“Feeling good is a by-product of playing correctly. You cannot establish correct playing by trying to feel good first.”<br /><br />“Failure is permanent only if the brass player doesn’t understand how to create success.” <br /><span style="font-weight:bold;"><br />“Follow the yellow brick road.” </span>Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com20tag:blogger.com,1999:blog-5301079526041772488.post-89502281050849968932010-03-18T16:40:00.000-07:002010-03-19T19:31:13.560-07:00The Brassaphone<span style="font-weight:bold;">ROCCOISMS</span><br /><br />“I gave up tuba playing a long time ago. Now, I’m a mouthpiece player!”<br /><br />“Play the mouthpiece, not the instrument.”<br /><br />“It’s just a long mouthpiece with valves or a slide.”<br /><br />“Play the mouthpiece in the same manner no matter where it is, in your hand or the leadpipe.”<br /><br />I recall Jake commenting to me, “You have two different mouthpiece playing techniques. One technique when it’s inside the horn and a different one when the mouthpiece is in your hand. You must transfer the same successful mouthpiece playing technique you use when it’s outside the instrument to the instrument.”<br /><br />At the time, I didn’t fully understand his comment. However, I knew that when I played the mouthpiece outside the instrument, my playing was always easy and I sounded good. However, I didn’t always have the same experience when I placed it in the horn.<br /><br />Later, I realized that I was forced to mentally sing the notes when I played the mouthpiece alone. There was no other way to realize different pitches. However, when I placed it in the horn, my forced singing was replaced with forced feeling because the singing stopped. Failure was the predictable result.<br /><span style="font-weight:bold;"><br />ROCCOISMS</span><br /><br />“Feel and Fail are four letter words to a brass player.” <br /><br />“Playing by feel is like trying to drain a swimming pool with a straw.”<br /><br />“The instrument is just a length of brass tubing. It already has plenty of air but it has no intelligence or sound of its own. That can only come from the mind of the player.”<br /><br /><span style="font-weight:bold;">ADOLPH HERSETH</span><br /><br />“When encountering problems technically or musically, first sing then buzz. Transfer the singing and buzzing to the instrument.”<br /><br />“Practice entire sessions on the mouthpiece alone to avoid having problems creep into your playing.”<br /><br />As a young tuba player, I developed a virtuoso mouthpiece technique. On several occasions, people hearing me play in a hallway or a closed room mistook me for Jake. Wow! What a compliment! I routinely played the mouthpiece for 45-60 minutes a day.<br /><br />I enjoyed playing along with my favorite Reiner-CSO recordings. Actually, there were no favorites. They are all wonderful examples of the finest art of orchestral performance! <br /><br />While I was a music student at Roosevelt University in downtown Chicago, I frequently took long walks along the lakefront with my mouthpiece in hand.<br /><br /><span style="font-weight:bold;">THE KEY IN THE LOCK</span><br /><span style="font-weight:bold;"><br />THE MOUTHPIECE-INSTRUMENT DILEMMA</span><br /><br />I’m always amazed that very few brass players or wind players understand the acoustics of their instrument. In my lectures, I frequently ask, “What is the resonating element of a brass instrument?”<br /><br />The surprising responses usually range from blank stares to lips or lungs. I usually reply, “Do your vibrating lips sound like a brass instrument?” “Does an oboe reed sound like an oboe?”<br /><br />The obvious answer is no because vibrating lips or a reed are only the catalyst that initiates the vibration of the air column within a length of tubing. Since the air is already present within the tubing, it is not necessary to “fill the instrument with air.” <br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“The instrument already has plenty of air but it has no sound. Fill it with sound.” <br /><br /><span style="font-weight:bold;">THE RESONATING AIR COLUMN OF ALL WIND INSTRUMENTS</span><br /><br />Once I establish that the resonating element of a brass instrument is the vibrating air column, I ask students, “What method is used to vibrate the air column?”<br /><br />Again, the responses range from blank stares, to “pushing air through the instrument”. Someone usually mentions first vibrating the lips but they are unable to explain how that initiates the resonance of the air column.<br /><br />I explain that the process is not like using friction to create resonance with a string instrument or concussion on a percussion instrument.<br /><br /><span style="font-weight:bold;">ARNOLD JACOBS</span><br /><br />“There are acoustical laws that must be obeyed.” <br /><span style="font-weight:bold;"><br />SYMPATHETIC RESONANCE</span> <br /><br />We must send a resonance through the mouthpiece to the air column that it can respond too, the partials of the overtone series. If the source frequency we are creating in the mouthpiece is identical (sympathetic) to a frequency of the overtone series, the air column will begin to vibrate at that frequency. If the two pitches are not sympathetic, the air column will reject the catalytic frequency, causing embouchure malfunction and resistance of breath. Unfortunately, traditional brass pedagogy is more focused on treating these symptoms of failure rather than the cause. <br /><br /><span style="font-weight:bold;">THE CUTAWAY MOUTHPIECE</span><br /><br />I remember a cutaway mouthpiece Jake used with his students to encourage them to play the mouthpiece rather than the instrument. Most of the bowl material was removed leaving only the stem, which was inserted into the leadpipe, and the rim. We would buzz the rim while fingering the instrument. This worked well if the brass player could transcend the unusual feel of playing on the rim alone. <br /><span style="font-weight:bold;"><br />ARNOLD JACOBS</span><br /><br />“We must transcend physical strangeness while playing by giving dominance to music.”<br /><br />Later, Mario Guarneri and others developed a device (Berp) that allowed the brass player to use their normal mouthpiece in the same manner as the cutaway mouthpiece. The advantage of these devices was that playing "feel" became less of a distraction. <br /><br /><span style="font-weight:bold;">THE TUBAPHONE</span><br /><br />A few years ago, I decided to create a simple instrument, without valves, by placing my mouthpiece in a small acoustic megaphone. I called it a “Tubaphone”. The effect was wonderful because the cone amplified my mouthpiece playing, making it easier to buzz with a resonant tone. I now refer to the tuba as a, “Megaphone.” <br /><br />The Tubaphone sounds like an amplified mouthpiece rather than a tuba. However, it is the same shape as the bell of the tuba and more importantly, it dramatically illustrates the connection between playing the mouthpiece in the same manner inside or outside the instrument.<br /><span style="font-weight:bold;"><br />THE BRASSAPHONE (HORNAPHONE, BONEAPHONE, TRUMPAPHONE, EUPHAPHONE)</span><br /><br />With the smaller mouthpieces, I suggest that my students go to a hardware store and find a funnel with an appropriate size opening. Some of my horn students, who use instruments with detachable bells, place the bell over the funnel for even greater amplification.<br /><span style="font-weight:bold;"><br />THE TRANSFER</span><br /><span style="font-weight:bold;"><br />TRANSCEND FEEL</span><br /><br />Some brass teachers discourage external mouthpiece playing because of the strange difference in feel between playing inside or outside the instrument. Also, some trumpet teachers encourage their students to buzz their mouthpiece with a leadpipe in order to duplicate the “feel” of playing in the instrument.<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />"When I use a megaphone to amplify the sound my lips, it's exactly the same process I use to amplify my vocal chords. I don't have any conscious knowledge of my vocal chords when I talk or sing and it's not necessary to have such knowledge when I create musical sounds with my lips. However, the powerful knowledge for singing and buzzing originates in the same area of the brain, but at the subconscious level of thought."<br /><br />“We must not concern ourselves with how playing feels. We must transcend feel by having a powerful awareness of sound.”<br /><br />“Feeling good is a by-product of playing correctly. We cannot motivate correct playing by trying to feel good first.”<br /><br /><span style="font-weight:bold;">ARNOLD JACOBS</span><br /><br />"The key to creating success can be found in speech."<br /><br />“It doesn’t matter what playing feels like. What’s important is what it sounds like.”<br /> <br /><span style="font-weight:bold;">SHINICHI SUZUKI</span><br /><br />"We can learn to play an instrument the same way we learned to speak language."<br /><br />I like to illustrate the used of the Tubaphone by playing the same music, without the use of valves, on both instruments. Sometimes, I’ll even finger the Tubaphone as if it has valves. I refer to valveless tuba playing as a “Megaphone Concerto”<br /><br />Another interesting technique is to personally finger the instrument for the player as they buzz their mouthpiece inside the instrument. Once they get past the strangeness of having me finger their instrument, they can focus only on their musical mouthpiece playing.<br /><br /><span style="font-weight:bold;">THE IMPORTANT ELEMENT I COMMUNICATE TO MY STUDENTS IS PLAYING EITHER THE CONE OR INSTRUMENT MUST BE THE SAME EXPERIENCE. I DO THIS BY HAVING THEM PLAY THE SAME MUSIC BACK AND FORTH BETWEEN THE TWO. THEIR PERSONAL EXPERIENCE IS MUCH MORE POWERFUL THAN MY WORDS.<br /></span><br /><br /><span style="font-weight:bold;">ARNOLD JACOBS</span><br /><br />“I sing the notes in my head as I play them. It doesn’t matter how my lip feels or how I feel.”<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“A brass instrument is nothing more than an extended cone with valves or a slide. The valves or slide have no function in producing sound and little function regulating pitch. They only allow the regulated sounds created in the mouthpiece to be realized outside the bell in a more technically efficient manner.”<br /><br />“In some ways, the invention of valves was not such a good occurrence. Too often, brass players think that valves are an important element of tone production. Bach, Mozart, and Beethoven wrote technically challenging music that was performed beautifully on brass instruments long before the valve came along.” <br /><br />“It’s just the singing.”Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com1tag:blogger.com,1999:blog-5301079526041772488.post-82747953038954877632010-03-05T17:17:00.000-08:002010-03-07T14:15:02.107-08:00Master of Failure<span style="font-weight:bold;">ROCCOISMS</span>
<br />
<br />“I have personally experienced your worst moment of failure. I hope you never have an opportunity to experience mine.”
<br />
<br />“Failure is an opportunity to learn.”
<br />
<br />“We must accept a certain amount of failure as an element of creating success. However, we don’t have to like it!”
<br />
<br />“Although I never enjoyed what was happening to me during my worst moments of failure, I’m grateful they occurred. I now have a unique opportunity to help others.”
<br />
<br />When a student comes to my studio, they are completely transparent. There is nothing going on, either positive or negative, that I have not personally experienced. On many occasions, I have worked with brass players, who possess impressive academic credentials, but are unable to play their instrument.
<br />
<br />For many years, Jake did not allow a doctoral degree program on tuba at Northwestern University.
<br />
<br /><span style="font-weight:bold;">ARNOLD JACOBS</span>
<br />
<br />“If you can play, you don’t need an advanced degree. If you can’t play, I refuse to allow a piece of paper as a substitute.”
<br />
<br />I frequently asked, highly credentialed but struggling students, what their former teachers said about their failure. I recall one particular response.
<br />
<br />“He didn’t understand why I couldn’t play and he also didn’t understand why he could.”
<br />
<br />In every instance, their former teachers were excellent brass players themselves, but they didn’t understand the failure of their students.
<br />
<br /><span style="font-weight:bold;">EMBOUCHURE-AIR SYNDROME</span>
<br />
<br />Here is a question I commonly ask students of all ages and stages of development after we have created some success in a lesson.
<br />
<br />“Has anyone ever said anything to you about air or embouchure?”
<br />
<br />The reply is usually, “Yes!!!”
<br />
<br />My response is always, “Have I said anything about those words to you?”
<br />
<br />The replies vary from, “NO” to “I’m not sure.” Sometimes they think I did, so they respond by explaining what someone else said to them. I quickly remind them that I said nothing about air or embouchure. I follow up with the question,” Was it necessary for me to discuss those words for your success?” The obvious response is always, “No!”
<br /><span style="font-weight:bold;">
<br />I NEVER MENTION A WORD ABOUT EMBOUCHURE TO ANY STUDENT! <span style="font-weight:bold;"></span></span>
<br /><span style="font-weight:bold;">
<br />THERE IS ONLY ONE THING I SAY ABOUT AIR.</span>
<br />
<br /><span style="font-weight:bold;">ADOLPH HERSETH</span>
<br />
<br />“There’s nothing wrong with your chops. Your mind is messing them up.”
<br />
<br />“Paralysis by Analysis.”
<br /><span style="font-weight:bold;">
<br /> ROCCOISMS</span>
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<br />“Take in a large breath every time you breathe.”
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<br />“Breath can only be motivated by the player’s concept of sound,
<br /><span style="font-weight:bold;">NOT BY MINDLESS BLOWING!</span>”
<br />
<br />“Sound motivates function.”
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<br />“While playing, we can only have a vague awareness of air at the conscious level. However, we can have a vivid awareness of sound.”
<br />
<br />“When you treat only the symptoms of failure rather than the cause, you will create more failure.”
<br />
<br />“Embouchure malfunction and breath resistance are only symptoms of a problem with the brass player’s state of mind.”
<br />
<br />“There are many fine brass players in the world, but great teachers are rare.”
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<br />“Too often, applied brass teachers are hired solely for their performance ability.
<br />
<br />It is wrongfully assumed that if someone can play an instrument well, they will also be successful teachers. Teachers should be evaluated on the success of their students as well as their own playing ability.”
<br /><span style="font-weight:bold;">
<br />SYMPTOM vs. CAUSE</span>
<br /><span style="font-weight:bold;">
<br />The Double Barreled Shotgun</span>
<br />
<br />When the air column of a brass instrument rejects the vibrations that are being created in the mouthpiece, the player experiences emotional pain and physical discomfort. Rejection occurs when the air column cannot accept a non-sympathetic frequency.
<br />
<br />The unpleasant physical symptoms of rejection are embouchure malfunction and breath resistance. Most often, brass players and their teachers attempt to correct their embouchure and air.
<br />
<br /><span style="font-weight:bold;">ROCCOISMS</span>
<br />
<br />“There is plenty of air creating the bad sounds coming from your instrument. If your problem was the lack of air, there would be no sounds.”
<br />
<br />“In all my years of teaching, I have never encountered any brass player with an embouchure problem. However, I have met many who think they have a problem.”
<br />
<br />I recall the time in 1973 when I found myself working daily with some very insecure brass players in the Honolulu Symphony. It was an unfamiliar experience because I was accustomed to playing with some of the finest brass players in the world in Chicago.
<br />
<br />Gradually, I began to notice a deterioration of my tone, it was becoming more difficult to play, and I was losing accuracy. I also noticed that my chops didn’t
<br />“feel right”, tonguing was difficult, and I was no longer taking in large breaths.
<br />
<br />My playing felt uncomfortable and insecure so I was not a “happy camper”. Jake was five thousand miles away so I was on my own. Incidentally, the very same thing happened to my successor in the orchestra. Later, I was able to help him recover also.
<br />
<br />Over the years, I noticed a problem that occurred with some of Jake’s students, including myself. When we went off on our own, we tried to bring him with us! That would have been wonderful if we brought the “musical” Jake. But too often, it was “analytical” Jake. He always told his students not to analyze themselves when they played. However, we all new we were being analyzed by him.
<br />
<br />As I began to analyze why my chops, tongue, and air were not functioning, everything began to work less and less until I could not play at all. I was not strolling down the “Yellow Brick Road” to Emerald City. I headed directly for the “Witches’’ Castle”.
<br />
<br />At age twenty-six, I was young and motivated enough to find my way back from total devastation. My personal process of recovery gave me exceptional insights into what causes failure and what is necessary to create success. If I had known then what I know now, there never would have been a crash.
<br /><span style="font-weight:bold;">
<br />ROCCOISMS</span>
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<br />“It’s normal for us to want to treat the symptoms of failure if we don’t understand the cause.”
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<br />“If we truly understood the cause of our failure, there would be no failure.”
<br />
<br />It’s also normal for us to want to eliminate or prevent physical discomfort or emotional pain. There is a protective reflex in the subconscious mind that wants to protect us from physical and emotional harm.
<br />
<br />Unfortunately the reflex which prevents us from touching a hot stove can eventually have the same reaction to the instrument in our hands. The negative conditioning increases in time as the player creates a history of failure. In time, they may become partially of fully paralyzed.
<br /><span style="font-weight:bold;">
<br />ROCCOISMS</span>
<br />
<br />“Once negative conditioning is established it cannot be undone. It must be replaced with positive conditioning.”
<br />
<br />“Positive conditioning, associated with playing an instrument, can only take place if there is a history of success playing the instrument.”
<br />
<br /><span style="font-weight:bold;">THE DANGER OF SELF ANALYSIS</span>
<br />
<br /><span style="font-weight:bold;">ROCCOISM</span>
<br />
<br />“Self analysis motivates the sense of feel which stimulates very weak input to the brain. As a result, playing mechanics are inhibited rather than encouraged.”
<br />
<br />To create successful note execution, we must encourage motor function which is the stimulation of output from the subconscious brain. Successful output can only come from the subconscious because the mechanics and awareness’s involved are much too numerous and complex for the limited intellect of the conscious mind. It is possible to have only one conscious thought at any given moment.
<br />
<br />Unfortunately, traditional brass pedagogy encourages self analysis. It is not necessary to study lips in order to produce sound just as it isn’t necessary to study vocal chords to do the same. We don’t study the mechanics of breathing in order to breathe and we don’t study the tongue in order to speak or chew.
<br />
<br />It is our desire for and awareness of accomplishment that motivates the mechanics necessary to achieve whatever we want.
<br /><span style="font-weight:bold;">
<br />ARNOLD JACOBS</span>
<br />
<br />“I order products but I don’t know a thing about how they are delivered.”
<br />
<br />“The key to playing successfully can be found in speech.”
<br />
<br />“I want you to have the mind of a child.”
<br /><span style="font-weight:bold;">
<br />BARRY GREEN</span> (<span style="font-style:italic;">The Inner Game of Music</span>)
<br />
<br />"Would you like to play with the ease of a six year old child?"
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<br /><span style="font-weight:bold;">
<br />ROCCOISM</span>
<br />
<br />“When we play an instrument, we must use the same simplistic approach to creating the complex physical maneuvers that allow us to successfully do all other functions in life, such as walking and talking.”
<br /><span style="font-weight:bold;">
<br />THE SOUND OF MUSIC</span>
<br />
<br />When we talk, it’s our conscious awareness of the sound of words that motivates the mechanics necessary to realize speech. We are not consciously thinking about air, vocal chords, or the tongue. As children, we didn’t learn to speak language by consciously studying mechanics. Given enough time, our subconscious mind figured out the mechanics based on the motivating awareness of sound.
<br />
<br />We have all heard stories about very successful musicians and singers who never had a lesson in their lives. For example, I’m reminded of the great Cuban trumpeter and pianist, Arturo Sandoval.
<br /><span style="font-weight:bold;">
<br />ARNOLD JACOBS</span>
<br />
<br />“I was a very successful brass player until my first teacher came along.”
<br />
<br />“We must give dominance to music, not an instrument.”
<br /><span style="font-weight:bold;">
<br />RECOVERY FROM PARALYSIS</span>
<br />
<br />My personal recovery, and that of the many people I have encountered in the last forty years of my career, has been motivate by an altered state of mind.
<br />
<br />That alteration was to become much less aware of how playing feels and the awareness of playing mechanics to becoming committed to the awareness of sound. That is how I created success in the past before I drifted into the abyss of mindlessly using the sense of feel as a motivator of playing mechanics.
<br />
<br /><span style="font-weight:bold;">ROCCOISM</span>
<br />
<br />“Feel and fail are four letter words to a brass player.”
<br />
<br />"Playing by feel is like trying to drain the water from a swimming pool with a straw."
<br />
<br />When I finally realized that there was nothing wrong with my embouchure, lungs, tongue, or fingers, I became liberated to focus all my energy on the sound I wanted to produce.
<br /><span style="font-weight:bold;">
<br />ARNOLD JACOBS</span>
<br />
<br />“The brass player should focus 90% of their intellect on the sound they want to produce. If they do, there will be only be a peripheral (10%) awareness of how playing feels and what we are doing (mechanically).”
<br />
<br />"It is best to be somewhat unconscious of our physical maneuvers and highly conscious of our musical goals."
<br />
<br />“It’s not what you sound like that is important. What’s important is what you want to sound like.”
<br />
<br />“I sing the notes in my head as I play them. It doesn’t matter how my lips feels or how I feel.”
<br /><span style="font-weight:bold;">
<br />H. A. VANDERCOOK</span>
<br />
<br />“If you can sing it, you can play it.”
<br /><span style="font-weight:bold;">
<br />ADOLPH HERSETH</span>
<br />
<br />“When encountering problems technically or musically, first sing, buzz, then transfer the singing and buzzing to the instrument.”
<br />
<br />“Sound is the criteria for how you do this and that.”
<br />
<br />"Think sound not mechanics."
<br /><span style="font-weight:bold;">
<br />
<br /><span style="font-weight:bold;">H.E. NUTT</span>
<br />
<br />"The first teaching point is tone."
<br />
<br /><span style="font-weight:bold;">THE FORMULA</span>
<br />
<br />For many years, I have prescribed a formula of vocally singing and buzzing in sets of three repetitions. The sets are repeated until the awareness of sound is powerful enough to transcend all distractions, including feel and the mindless collection of brass tubing in our hands.
<br />
<br /><span style="font-weight:bold;">ROCCOISMS</span>
<br />
<br />“At times, my students have failed to apply the Sing, Buzz, Play formula, but the formula has never failed them when they did apply it.”
<br />
<br />“We must create a history of success in order to create an expectation of success.”
<br /><span style="font-weight:bold;">
<br />“SOUND MOTIVATES FUNCTION.”</span>
<br /><span style="font-weight:bold;">
<br />“THERE IS NO REASON FOR YOUR SUCCESS OR FAILURE OTHER THAN YOUR STATE OF MIND.</span>
<br /> <span style="font-weight:bold;">
<br />SING, BUZZ, PLAY</span>Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com1tag:blogger.com,1999:blog-5301079526041772488.post-86717921735598913532010-02-28T04:46:00.000-08:002010-07-01T16:11:49.652-07:00The Internet Lessons<span style="font-weight:bold;">LIBERATION</span>
<br />
<br />You are right on track! Bravo! At the conscious level, you must be totally free of the influence of the instrument and how to play it. That allows your subconscious to be free to do what is necessary to execute the notes. It's how we function doing everything else in life.
<br />
<br /><span style="font-weight:bold;">ONE NOTE AT A TIME</span>
<br />
<br />Yes, I have been telling my students for years to play one note at a time. That's how you play the mouthpiece outside the horn.
<br />
<br /><span style="font-weight:bold;">SOUND MOTIVATES FUNCTION</span>
<br />
<br />There is no problem for you blending in with the traditional Chinese instruments as you play a non-traditional instrument if you compensate for tone in your personal practice.
<br />
<br />In your personal practice, produce the sound that we usually associate with the horn playing Western music.
<br />
<br />Remember that louder dynamic levels and full resonance are healthy for your playing. Balance is very important.
<br />
<br />Herseth: "When I'm playing Mozart in the orchestra, I practice Bruckner. When I'm playing Bruckner in the orchestra, I practice Mozart."
<br />
<br />Insecure playing in the pit can have a negative influence if you allow it. Herseth didn't teach very much because he knew that his student's playing would have a negative influence on him. Jay Friedman says, "At the end of a long day of teaching, I sound more and more like my students." It didn't seem to bother Jake.
<br />
<br /><span style="font-weight:bold;">RANGE</span>
<br />
<br />Don't baby yourself too much with the range studies. You can convert bad sounds into good sounds but you can't convert silence into good sound.
<br />
<br /><span style="font-weight:bold;">THE KEY IN THE LOCK</span>
<br />
<br />You don't have anxiety and expectations of failure on the mouthpiece alone because it's very forgiving of incorrect pitch. Instead of a single air column, there are infinite air columns. No rejection!
<br />
<br /><span style="font-weight:bold;">PLAY THE MOUTHPIECE!</span>
<br />
<br />When the mouthpiece is placed in the horn, the party's over. If your pitch is not very accurate, the air column will reject the notes you are trying to send to the horn. In time, the rejecting air column triggers protective reactions in the brain (fear, pain, anxiety, paralysis) that sabotage your ability to function. The instrument itself soon becomes a negative influence.
<br />
<br />Just because the modern instrument has valves doesn't mean that it's any different from a natural horn or Alphorn. It is essentially a long mouthpiece.
<br />
<br />I know you play the mouthpiece inside the funnel. Try playing it an inch outside the lead pipe of the horn. Gradually move the mouthpiece sound closer to and into the lead pipe. You will make the connection! It's a great liberating experience!
<br />
<br />Jacobs and Herseth were completely free of the influence of the instrument. Brain would play on garden hose and funnel.
<br />
<br />RR: "It's just a long mouthpiece with valves." "Play the mouthpiece not the instrument."
<br />
<br /><span style="font-weight:bold;">EXPECTATION OF SUCCESS </span>
<br />
<br />You need to remind yourself at all times and under all playng conditions. There is never a moment when you are not capable of doing what is necessary to succeed. It may be easier or harder at times, but you can always do it.
<br />
<br /><span style="font-weight:bold;">THE INSTRUMENT IN YOUR MIND<span style="font-weight:bold;"></span></span>
<br />
<br />When you don't like the sound coming from the instrument, it's because your are listening to the wrong horn. Jacobs said we always have a peripheral awareness of the sound coming from the instrument but it should not dominate our awareness. He said 80-90% of the awareness must be internal (mental) rather than external (ear).
<br />
<br />Giving dominance to the external awareness involves input to the brain through sensory awareness. However, in order to produce sound on an instrument, we must have motor function which involves output from the brain. It's always a one way street.
<br />
<br />What is coming out the bell of the horn is an honest reflection of what is going on mentally.
<br />
<br />Jacobs: The instrument in the hands is a reflection of the one in the head.
<br />
<br />One of my students once called his trumpet a lie detector.
<br />
<br />RR: There is no reason for you success or failure other than your state of mind.
<br />
<br /><span style="font-weight:bold;">EXPECTATION OF FAILURE</span>
<br />
<br />Emotions can dominate the rational mind. The rational mind can control emotions by altering the conditions that are causing them. If you are fearful because you are standing on the edge of a cliff, simply step back. You can have the same control if you can use the power of CV to imagine that you are no longer in danger. The subconscious mind does not distinguish between reality and a powerful belief.
<br />
<br /><span style="font-weight:bold;">JEKYLL AND HYDE</span>
<br />
<br />Don't play the show in the pit anymore. Place yourself in the comfortable environment of your practice room at home.
<br />
<br />I told you that I now longer play the tuba. I play the mouthpiece because I have always been a very successful mouthpiece player. I don't allow the tuba to influence my mouthpiece playing.
<br />
<br />RR: "You cannot erase your past. You must replace your past."
<br />
<br />The replacement must become dominant over time. Until that happens, you will find yourself in what I call the "Jekyll and Hyde Syndrome". Fluctuating between old and new habits. The old habits took a long time to establish so you have to be persistent to establish new habits.
<br />
<br /><span style="font-weight:bold;">CREATIVE VISUALIZATION </span>
<br />
<br />In the last email, I talked about creative visualization as a daily routine. Much of my personal practice is CV. That is I think about the state of mind necessary to play the instrument away from actually doing it. When I do pick up the instrument, I can perform immediately.
<br />
<br />I noticed this with Jacobs, Herseth, Charlie Geyer, Dick Oldberg, and Dan Gingrich. Nothing prevented them from doing what they wanted to do.
<br />
<br />The great violinist Fritz Kreisler was once asked, "Maestro, you play so beautifully. Why don't we ever hear you practice?"
<br />
<br />His reply was very revealing. "Just because you can't hear it does not mean that I'm not practicing."
<br />
<br />Creative Visualization is a repetitive form of communication with the subconscious based on the use mental awareness that can involve any of the senses (visual, auditory, touch etc.). Since sight is the most powerful sense, it receives the highest priority in the brain. We learned how to talk because of the auditory awareness (language) that was repeated to us as children. We learned how to walk because we repeatedly received visual images of others walking. It took some time for the subconscious to determine how to realize the awareness that were being received by the subconscious mind.
<br />
<br />Creative Visualization is a powerful force to achieve goals by visualizing them mentally over time.
<br />
<br />Three years ago, my goal was the hew house. I'm amazed that I was able to sell the old house and make it happen in this economy. I remember having a powerful vision of what I wanted to accomplish.
<br />
<br />You should be thinking about your professional and financial goals for the end of the show.
<br />
<br />Creative Visualization is the development of a state of mind to achieve a future goal. "Now" is the state of mind to achieve an immediate goal. Some goals are immediate, some are longer term, and some are both.
<br />
<br /><span style="font-weight:bold;">
<br />STATE OF MIND</span>
<br />
<br />Playing the horn involves a state of mind to produce an immediate result but you can also have long term goals to achieve a different result in the future. The important thing to to have control over your state of mind to achieve anything.
<br />
<br />Negative emotions (fear, anxiety) are powerful hindrances to achieving a state of mind that allows us to reach our goals. They evolved to take over our state of mind to protect us from pain or harm (fight or flight syndrome). The problem occurs when we allow these emotions to dominate us when there is no pain or harm.
<br />
<br />I suspect that the physical pain that you feel in your lip is a subconscious reaction to an expectation of fear or anxiety.
<br />
<br />Even though that expectation was in the past, it's still stored in memory and will emerge at times. I think you will find that it will diminish as your expectation of success grows over time.
<br />
<br />Sometimes, players experience paralysis in the lip. Woodwind players experience pain or paralysis in their hands.
<br />
<br />Keep everything simple. Don't over analyze anything.
<br />
<br />It's just the singing!
<br />It's just the singing!
<br />It's just the singing!
<br />
<br /><span style="font-weight:bold;">NEED, DISCIPLINE, TIME</span>
<br />
<br />Even though you are competing with Dennis Brain, you don't have to expect to be there yet. Remember, everything requires time. Compete with him now, but accept the fact you are not there today. Try to be there tomorrow and the next day.
<br />
<br />As a young player, I would compete with Mr. Jacobs everyday. One of the highlights of my career was a few times when people thought they were hearing him play and were surprised to learn that it was me.
<br />
<br />One time when I was substituting for him in the CSO. Mr. Herseth told Jacobs, "You better come back or your 're going to loose your job!"
<br />
<br /><span style="font-weight:bold;">PERFECTION AND IMPERFECTION</span>
<br />
<br />Long term, don't strive to be perfect. Strive to be better.
<br />
<br />Clevenger does not strive for perfection as a horn player. As a result, he's a very accurate horn player because the music is his dominant focus. It's the music that motivates horn playing. Most players think that horn playing motivates the music.
<br />
<br />Jacobs: "We must give dominance to the music, not the instrument."
<br />
<br />Jacobs was completely free of the influence of his instrument because he had a very powerful awareness of the music at all times.
<br />
<br />When you missed notes, it was because your were either singing the incorrect notes or you stopped singing for an instant. You will produce the notes on the horn 100% of the time if you are singing them 100% of the time.
<br />
<br />As you develop your awareness of sound by imitating others, have the courage to compete with them. Yes, you have the same potential capability. The only limitations to what you can achieve are the ones you create.
<br /><span style="font-weight:bold;">
<br />DISTRACIONS</span>
<br />
<br />Forget about the air because you don't have conscious control. Think about the sound which you do have complete control. Your subconscious will respond to your commitment to the sound with an equal commitment to whatever is necessary to produce the sound, including air.
<br />
<br />Nothing will work as long as you are trying to focus on the air.
<br />
<br />RR: "Sound motivates function."
<br />
<br />Do you remember the most important thing I have ever said to my students or myself.
<br />
<br />"There is no reason for your success or failure other than your state of mind." Your singing experience (everything!) was the result of your state of mind.
<br /><span style="font-weight:bold;">
<br />VISUALIZATION</span>
<br />
<br />Here is a similar experience of mine that I will share with you.
<br />
<br />I was playing the second tuba part to Zarathustra with the CSO. Mr. Jacobs and me were warming up in the orchestra room just before an afternoon performance. He was sitting about 10 ft. away directly in front of me. Of course I was listening to and watching him.
<br />
<br />He first began playing as a trumpet player as a very young boy. When he played the tuba, he would imagine that he was still playing the trumpet. As a result, he could play in the extreme upper register with the same ease and sound of trumpet even though the tuba is four times the length. Listening to him and watching made a powerful impression on me.
<br />
<br />Later that evening, I had a rehearsal at orchestra hall. Warming up, I sat in the same place where I was in the afternoon. In my imagination, I could see and hear Mr. Jacobs again. I picked up my instrument and astonished to experience that I could play exactly the same in the extreme upper register. It was frightening because I didn't understand what I do now.
<br />
<br />That was a glorious experience for you. You have the power to make it happen again with the horn or your voice.
<br />
<br />You not only must transcend the horn but you must transcend everything that get is the way of your concentration on the music. This includes any awareness of how you feel physically or emotionally.
<br />
<br />Jacobs: "I sing the notes in my head as I play them. It doesn't matter how my lips feels or how I feel."
<br />
<br /><span style="font-weight:bold;">BE KIND TO YOURSELF</span>
<br />
<br />I want you to stop punishing yourself for your failure. Just accept the fact that you are not doing what you need to do to create success. Alter your state of mind and do what you need to do.
<br />
<br />Punishing yourself is just as harmful to your state of mind as someone else punishing you. When you fail, respond with action that will create success. You know what to do.
<br />
<br />It's very hard for you to be fully focused on your horn playing since there is so much other responsibility in your life. Don't be critical of yourself. Remember your progress requires patience.
<br />
<br />You cannot erase your past, you must replace it. The replacement process requires time.
<br />
<br /><span style="font-weight:bold;">RANGE DEVELOPMENT</span>
<br />
<br />Remember to practice the Clarke starting in a middle key first. Then alternate the keys one higher and one lower etc. Gradually increase the speed and vary the articulations. In time, when you reach the limits of the printed keys, keep expanding your range by half step beyond the printed exercises by transposing to new keys.
<br />
<br /><span style="font-weight:bold;">THE SOUND OF MUSIC</span>
<br />
<br />The singing comes from the same place in the brain if you are singing with your vocal chords or your lips. Also, the brain does not distinguish sounds we call music (singing) from the sounds we call language. It's the same.
<br />
<br />Suzuki says, "We can learn to play an instrument the same way we learned to speak."
<br />
<br />We learned language by becoming aware of the sound of words. We learn music by becoming aware of the sound of music. It's exactly the same process if we don't allow the mechanics of playing the instrument to infer with our dominant awareness of the music.
<br />
<br /><span style="font-weight:bold;">TRANSCEND THE INSTRUMENT</span>
<br />
<br />When speaking, we don't allow the mechanics of vocal chords to dominate the words. The mechanics is always subconscious. We must transcend the horn.
<br />
<br />Regarding mouthpiece pressure or any other physical stimulus associated with playing the horn. You must transcend the feel. It means nothing and will continue create failure if you allow it to dominate your thoughts.
<br />
<br /><span style="font-weight:bold;">DISCIPLINE</span>
<br />
<br />You are a very disciplined person. You must discipline yourself to concentrate only on the music that you are creating in your conscious awareness. You must let everything else go!!!!
<br />
<br />If you are having difficulty concentrating on the music, it's because your awareness of the music is not powerful enough to dominate your thoughts. You must ascend the ladder of awareness to Emerald City. Your tools are singing vocally and buzzing externally in sets of three. SING, BUZZ, PLAY
<br />
<br />This disciplined approach takes time to replace the habits of your past. Take pleasure in every moment of your success. Don't be too disappointed by your inevitable moments of failure.
<br /><span style="font-weight:bold;">
<br />HISTORY</span>
<br />
<br />As you create a history of success, your expectation of success will grow. As your playing grows, you will be more willing to accept the risk to move to the next level. Always remind yourself what allows your success. It's always your state of mind. You are the master of your mind.
<br />
<br />From the first time we began to communicate about a month ago, you showed me that you are troubled by the fact that you are starting the horn later in life and that you are inexperienced.
<br />
<br />Let go of those thoughts. Your subconscious brain will be programmed to play like a beginner and you will be handicapped forever. Remember, the knowledge that you now have actually is a tremendous advantage. How fortunate you are!!!
<br />
<br />Don't be so concerned about your breathing when you play. You are not concerned about when you aren't playing.
<br />You subconscious will take care of your breathing if you want to produce a full sound.
<br />
<br />RR: "Sound motivates function."
<br /><span style="font-weight:bold;">
<br />SINGING</span>
<br />
<br />Singing is your lifeline when you play the horn. If you are having trouble concentrating, it's because you are not in "Emerald City". Move up the ladder of awareness by repeating the external buzzing and vocalization in sets of three.
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<br /><span style="font-weight:bold;">THE PROMISE</span>
<br />
<br />This is a promise that I make to all my students, including the one I see in the mirror every day.
<br />
<br />If you sing the correct notes in your head as you play them, the notes coming out the horn will be a reflection of your singing 100% of the time. You can not fail.
<br />
<br />There's the methodology for you to create an expectation of success.
<br />
<br />Every week you tell me about your progress. Bravo!!!
<br />
<br />The only limitations are the ones that you impose on yourself. Allow yourself to be free enough to experience the limits of the ability that's within you.
<br />
<br />"Follow the yellow brick road."
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<br /><span style="font-weight:bold;">THE ALTERNATIVE METHOD</span>
<br />
<br />The horn is a difficult instrument to play only if you don't know how to play it. The people who play well consistently either already have an unconscious instinctive ability or they have conscious understanding of how to motivate their instinctive ability. Players who are hit and miss have either lost their instinctive ability or they never really understood how to motivate it.
<br />
<br />Instinctive ability is the ability to allow the subconscious, reactive mind to execute the mechanics of playing. This ability is motivated by a powerful commitment (mentally singing) to the music.
<br />
<br /><span style="font-weight:bold;">MOUTHPIECE PLAYING</span>
<br />
<br />Remember that playing the mouthpiece inside the horn is no more difficult than playing it outside the horn unless you make it so by allowing the instrument to interfere with your concentration.
<br /><span style="font-weight:bold;">
<br />THE SIMPLISTIC APPROACH</span>
<br />
<br />Playing any instrument is a very complex mechanical achievement. However we must have a simplistic, not intellectual approach to making music.
<br />
<br />Vandercook: "Keep it simple."
<br />Jacobs: "I want you to have the mind of a child."
<br />
<br />Pay no conscious attention to your embouchure. Your subconscious brain is responding to your conscious awareness of sound. It will do whatever is necessary to realize the sound that you are singing.
<br />
<br />As I mentioned before, I no longer play the tuba. I do not allow the mindless, soundless, piece of brass to influence me in any way. I have never been unable to play the mouthpiece outside the instrument. So it's very logical that I should play the mouthpiece the same inside the instrument.
<br />
<br /><span style="font-weight:bold;">BRASS PERFORMANCE</span>
<br />
<br />Thirty years ago, most of the world was behind the quality of American and British brass players. The reason is that in the UK there is a great tradition of industrial and youth brass bands. In the US, there has been a similar tradition of concert and marching bands. In the American educational system, they start playing as early as fourth grade.
<br />
<br />However, the existing brass pedagogy in the educational system is very misguided. There are many fine players but there are far more who could play if the pedagogy improved. That may happen in time. Actually, I can see that it has improved some but there is a long way to go.
<br />
<br />I mentioned my frustration over the existing pedagogy to a very fine German trumpet player who was studying with me. He had studied with sixty teachers from all over the world. Nobody could really help him until he came to Chicago.
<br />He said, "Roger, it's a small but growing army".
<br />
<br /><span style="font-weight:bold;">PROMISE TO JAKE</span>
<br />
<br />My last words to Mr. Jacobs before he died in 1998 was that his work would live through his students. You may now consider yourself to be a student of Mr. Jacobs. That's a very big honor!
<br />
<br /><span style="font-weight:bold;">MOUTHPIECE PLAYING</span>
<br />
<br />Don't be too concerned about very precise intonation when you buzz the mouthpiece alone. The instrument will help you play more precisely when you place the mouthpiece in the horn.
<br />
<br />The most important thing is to buzz accurate notes with a resonant sound. As your tone improves, your intonation will improve also.
<br />
<br />RR: "Sound motivates function."
<br />
<br />As you progress, others will hear the improvement. You will notice that your confidence is growing and playing is easier and more enjoyable for you.
<br />
<br /><span style="font-weight:bold;">NOW</span>
<br />
<br />You found yourself in an uncomfortable situation playing with the orchestra. You were (not now!) a beginning player being asked to play at a professional level. I remember feeling somewhat overwhelmed myself when I was very young.
<br />
<br />I first played with the CSO when I was only 18 years old. As a result, I was asked to perform with many very fine brass players in Chicago. It was was great opportunity but I remember that I struggled to to keep up with them. I was frustrated because I wanted to play at their level immediately. However, I never gave up. In time, it got much better.
<br /><span style="font-weight:bold;">
<br />"KEEP IT SIMPLE"</span>
<br />
<br />The secret of success playing the horn is to have a very simplistic approach to the complex task.
<br />
<br />Walking and talking are very complex physical accomplishments. However, we have a simplistic approach to achieving these skills.
<br />
<br />We learned to speak language by listening to words. We learned to walk by seeing others walk. It was our awareness of the end product that motivated our subconscious mind to learn how to realize the product over time. Nobody told us what to do with our vocal chords or legs.
<br />
<br />The complex motor skills required to walk, talk, and play an instrument are beyond the abilities of our conscious intellect. However, our conscious mind can be highly aware of the end products of walking, talking, and playing. The conscious awareness will be communicated to the reactive mind which has the ability, or will acquire the ability over time, to realize what we want to achieve.
<br />
<br /><span style="font-weight:bold;">IMITATION</span>
<br />
<br />For three years, I imitated the sound of Mr. Jacobs and the rest of the CSO brass on my instrument. Nobody told me how to achieve that sound. I renewed it in my mind every day and worked to realize the sound on my instrument every day. We he first heard me play he said, "You sound like you already have been studying with me for three years".
<br />
<br />RR: "Sound motivates function."
<br />
<br />Focus on achieving the sound you want on the mouthpiece then transfer that sound to the horn. Remember that the horn has no sound of its own. You must fill it with your sound which will originate in your conscious mind and be sent to the mouthpiece if you allow it.
<br />
<br />Yes, the funnel makes mouthpiece playing easier because of the amplification. The important thing is to understand that the horn is just a longer funnel. When you buzz the mouthpiece with the funnel, you are playing the mouthpiece not the funnel. When you buzz the mouthpiece inside the horn, you must continue to play the mouthpiece, not the horn.
<br />
<br />Your goal is to play the mouthpiece the same no matter if it's in the funnel, Berp, or the horn.
<br />
<br /><span style="font-weight:bold;">TONE PRODUCTION</span>
<br />
<br />Remember that you must start by playing louder dynamic levels to encourage tone production. As your resonance (bigger, louder sound) improves, you can begin to vary the dynamics when the mouthpiece is in the horn. However, you should always play loud when the mouthpiece is in the funnel or Berp. The reason is that you will do things to discourage tone production that are detrimental to your playing. It's not necessary for me to explain further because it will cause you to over analyze you playing technique.
<br />
<br /><span style="font-weight:bold;">PROBLEM SOLVING </span>
<br />
<br />There is no need to give anything up, including the horn. You just need to realize that all problem solving takes time.
<br />That's what The Road Less Traveled is about.
<br />
<br />The author says that the three components necessary to solve problems are need, discipline, and time. If your need to solve the problem is great, you will have the discipline to take the time to find the solution.
<br />
<br />The development of your ability to play the horn will teach you things about yourself and problem solving that would not occur without that challenge. However, it's good thing that you have a profession which allows you to make a living while you are learning to play the horn.
<br />
<br /><span style="font-weight:bold;">THE FUNNEL</span>
<br />
<br />I'm happy to hear that you found a funnel and that your're using it when you play the mouthpiece. You might try slipping your detachable bell over the funnel to make and even larger funnel. Maybe you have an extra bell you can use.
<br />
<br />When you play the mouthpiece with the funnel (bell), continue to play the mouthpiece the same when it's placed in the horn. Nothing is different.
<br />
<br />RR: "Play the mouthpiece, not the instrument."
<br />
<br />On the first Jacobs CD, he demonstrates this by first singing a few notes, then he buzzes them on the mouthpiece outside the horn. Finally, he buzzes the notes inside the horn which is just a larger funnel.
<br />
<br />The horn is just a larger funnel!
<br />
<br /><span style="font-weight:bold;">STATE OF MIND</span>
<br />
<br />What is your state of mind when you play the mouthpiece outside the horn? If you are playing the melody on the mouthpiece, then you are singing the notes in your mind. The notes can only come from your conscious awareness.
<br />
<br />It's really very simple and easy to do. You must commit only to the singing. Your subconscious will take care of the other things.
<br />
<br />It's important that you not allow the horn to distract you from the singing when you place the mouthpiece in the instrument. That's why I don't really play the tuba anymore. I play the mouthpiece inside the tuba.
<br />
<br />Playing an instrument is a very complex physical challenge. However, consciously we must have a simplistic approach so that we can leave the complexities to the subconscious mind. That's where all the power to execute playing the horn exists.
<br />
<br />Jacobs: "We must be somewhat unconscious of our physical maneuvers but highly conscious of our musical goals."
<br />
<br />Don't be hard on yourself about not being 100% disciplined. Just do some buzzing outside the horn. Yes it takes more air to buzz the mouthpiece alone or with the berp but that's good. Take in larger breaths!
<br />
<br />However, if you follow my advice about getting a funnel for your mouthpiece, you will find that it's easier to buzz than with the berp or the mouthpiece alone. The funnel will amplify the sound so that you don't have to work so hard to produce a good tone. It's really fun. I have all my students ( myself also!) use the funnel when they buzz.
<br />
<br />It's just the singing no matter where the mouthpiece is. Your pitch accuracy, tone and technique will improve in time.
<br />
<br />Here is another highly recommended reading for you.
<br />
<br /><span style="font-weight:bold;">The Road Less Traveled by Scott Peck</span>
<br />
<br />Don't feel that you have to read these books immediately. In the future, add them to your library. They will influence your life.
<br />
<br /><span style="font-weight:bold;">RESONANCE</span>
<br />
<br />Resonant means a full loud sound. Don't over analyze this. Just take in large breaths and play louder dynamics. No, never never blow air without making a sound. If you can't hear the music, play it louder. You don't have to buzz just with the music of horn players. Buzz along with anything you hear coming from the speakers.
<br />
<br />The characteristics of low notes encourage tone production so they should not be neglected. They are the foundation of a good sound. Just be sure to play in the lower register some each day. The Clarke studies will have you play in the low, middle, and high registers.
<br />
<br />The sweet spot is where the instrument resonates with the most sound. This occurs when the notes you send to the mouthpiece are precisely tuned to the correct pitch. Of course the pitch can only come from your mind.
<br />
<br /><span style="font-weight:bold;">IT DOESN'T MATTER HOW YOU FEEL</span>
<br />
<br />You can continue to play if you are physically tired but if you are mentally fatigued, you should stop. Remember, playing the horn is 90% mental. If you are no longer singing mentally then you will be mindlessly blowing and attempting to play by feel. Your practice must be quality rather than quantity.
<br />
<br />I think you should use the mute and the berp when you practice late in the evening. However, be sure to also have practice time when you use the berp and play the horn without the mute.
<br />
<br /><span style="font-weight:bold;">Have you heard the phrase, "Paralysis by Analysis"?</span>
<br />
<br />It means that you will be non-functional if you are consciously analyzing what you are doing. You must leave the analysis to the subconscious mind where the power to execute the notes really exists.
<br />
<br />Some of the most troublesome students I have ever had were highly skilled professional (Doctors, Lawyers, Dentists) who brought their analytical minds with them when they played an instrument.
<br />
<br />I know you are looking for a formula for success so here it is.
<br />
<br />1. Always mentally sing the notes in your head when you play the mouthpiece inside or outside the horn.
<br />2. Take in large breaths and play louder dynamics to encourage a full and resonant tone.
<br />3. Challenge your technical and musical playing skills (speed, range, dynamics etc.) to new levels over time. You must allow yourself the time that is necessary to grow.
<br />4. Keep your mind free to concentrate on the singing. You are over analyzing! Keep it simple by focusing only on the singing while playing with a big sound. You will allow your subconscious mind to deal with the complexities of playing the horn. This is no different than everything else you do in life all day long.
<br />
<br /><span style="font-weight:bold;">"Follow the yellow brick road"</span>
<br />
<br />Remember when you play the mouthpiece outside the horn, you are in the correct state of mind if the notes are the correct pitches and the sound is full and resonant. You are singing the notes in your head and it's not difficult to do.
<br />
<br />Just transfer the mouthpiece playing to the horn. Nothing changes if you continue to play the mouthpiece while it's inside the horn. However, you must not allow the horn to interfere with your mouthpiece playing. Transcend the horn.
<br />
<br />Do you remember the red megaphone that I used when I played the mouthpiece? It amplifies the sound and makes it easier to buzz. I suggest that you go to a hardware store and buy a funnel that your mouthpiece will fit into.
<br />
<br />Dennis Brain would play the Mozart concertos by making a horn out of a hose and funnel. Think of the instrument as a very long mouthpiece like an Alphorn.
<br />
<br /><span style="font-weight:bold;">RR: "Play the mouthpiece not the instrument."</span>
<br />
<br />If it's too late in the evening to practice the horn loudly, use the Berp. Herseth advised practicing entire sessions on the mouthpiece alone. You must use a keyboard or piano to be sure of your pitches.
<br />
<br />When you practice the studies, start in a mid-range key not the first key (lowest). Then expand your range by developing the next key lower and the next key higher from your starting key. Start slowly then gradually increase your speed. First slur as indicated but gradually vary the articulations.
<br />
<br />I suggest that you begin by practicing the second and thirds studies first. Remember, you must mentally sing each note while playing. It's not just about fingering!
<br />
<br />"Follow the yellow brick road."
<br /><span style="font-weight:bold;">
<br />MASTER OF FAILURE</span>
<br />
<br />I still do play professionally. However, there are very few opportunities for tuba players so I developed my teaching career because I needed to make a living. I am inspired to help others because I suffered so much myself. My knowledge about how to create success was the result of overcoming my own failure.
<br />
<br /><span style="font-weight:bold;">MASTER VS. SLAVE</span>
<br />
<br />No, don't allow anything to control your state of mind. You don't have to be a slave of your mind. You can be the master of your conscious thoughts. If you are capable of walking and talking, you are capable of playing the horn at any time.
<br />
<br />Technical Studies for Trumpet by Herbert L. Clarke
<br />
<br /><span style="font-weight:bold;">FEAR</span>
<br />
<br />Fear is a natural protective emotion that the brain triggers to prevent us from physical or emotional harm. However, the part of the brain that triggers fear is reactive not intellectual. We cannot consciously cause it to occur and we cannot will it to go away unless we change the conditions that are triggering it.
<br />
<br />The reactive brain will react the same if the triggering mechanism (harm) is real or imagined. You have fear when you play the horn because you expect to fail. When you have an expectation of success you will no longer experience fear when playing.
<br />
<br />Stay focused on the singing and your expectation of success will continue. Remember that your goal is to create music not the elimination of fear. Elimination of fear will be a by-product of your successful creation of music but it will not motivate your ability to make music. Only your mental singing will motivate the music.
<br />
<br />Also, you have the ability to create music in spite of your fear. You can actually use fear to bring you to a higher level of concentration on the music.
<br /><span style="font-weight:bold;">
<br />TRANSCEND THE HORN</span>
<br />
<br />Transcending the horn means to stay focused on mentally singing the music rather than allowing your emotions or the instrument to interfere with your mind.
<br />
<br /><span style="font-weight:bold;">READINGS</span>
<br />
<br />Here is a list of important books which will help you understand the mind.
<br />
<br />Trading in the Zone - Michael Douglas (State of Mind and Fear)
<br />The Secret of the Ages - Robert Carter (Power of the subconscious mind)
<br />The Power of Now - Tolle (Controlling your thoughts)
<br />
<br />It's just the mental singing of the music while you play.
<br />
<br />There is no need to read the article. You understand that you can function in spite of your fear.
<br />
<br />You have been very successful in every aspect of your life because you are highly motivated and you know what to do.
<br />
<br /><span style="font-weight:bold;">THE SYSTEM</span>
<br />
<br />In many ways you are fortunate that you don't have a background in traditional music education on the horn. The knowledge that exists is taught by people who became teachers because they could not play well themselves.
<br />
<br />"Those who can, do. Those who can't, teach."
<br />
<br />The traditional knowledge is grossly misinformed!!!
<br />
<br />You have found yourself in a "Catch 22" situation with the horn. You are expected to perform at a professional level without the experience or knowledge to do so. This reality is causing you great stress because you are being asked to succeed at an unrealistic level. Your fear is a natural response to this situation.
<br />
<br /><span style="font-weight:bold;">DO NOT BLAME YOURSELF!!!!! IT'S NOT YOUR FAULT!!!!</span>
<br />
<br />The important thing is what you should do now and in the future. Please follow my advice. I promise you continued success.
<br />
<br />1. It's just the singing.
<br />2. It's just the singing.
<br />3. It's just the singing.
<br />4. It's just the singing.
<br />
<br />Listen to recordings of what good brass playing (not just horn) should sound like. Go on youtube.com find videos of great performers such as Wynton Marsalis, Raphael Mendez, Dennis Brain, Roger Bobo and many others. They are all just singing the notes in their head as they play.
<br />
<br /><span style="font-weight:bold;">THE BREATH</span>
<br />
<br />Exaggerate your inhalations of breath and play the mouthpiece outside and inside the horn with a louder sound. Do you remember my last comment about your playing on Friday? I said you finally sound like a horn player. I meant that your tone was a good characteristic horn sound.
<br />
<br />"Sound motivates function." Read your list of "Roccoisms".
<br />
<br />You have the knowledge to play successfully in your orchestra now. You must keep reminding yourself what you need to do. Be patient with yourself even though others are not. You must allow yourself the time that is necessary to develop your skills.
<br />
<br /><span style="font-weight:bold;">RR: "MOST PEOPLE NEVER REALIZE THEIR DREAMS BECAUSE OF A BARRIER OF FEAR."</span>
<br />
<br />Do you get the Parade Magazine on Sunday with the newspaper? It probably comes with the Sunday NT Times or Daily News. If you don't already have it, you can still get it today.
<br />
<br />There is an article in the magazine entitled, "Don't Let Fear Hold You Back" by the American actor, Kevin Kostner.
<br />
<br />"Follow the yellow brick road."
<br />
<br />Yes, my very honest talk to you on Thursday afternoon was a risk that I needed to take. My time with you was running out. I was willing to risk offending you with my honesty. I had no choice because your fear of failure was paralyzing you. Do you remember my first e-mail when I said that most people never realize their dreams because they are paralyzed by fear of failure?
<br />
<br />With and instrument in your hands, both failure and success are exposed immediately. You can't hide behind the horn.
<br />
<br />Nobody likes to expose their weaknesses to others. However in music and everything else, failure is an inevitable element of the process of creating success. You can achieve perfection in your professional work because you can test it before it's submitted. You cannot test your notes on the horn.
<br />
<br /><span style="font-weight:bold;">
<br />RR: "YOU MUST ACCEPT A CERTAIN AMOUNT OF FAILURE BUT YOU DON'T HAVE TO LIKE IT."</span>
<br />
<br />If you can accept the fact that some failure on the horn is inevitable, you will free your will to do what is necessary to be successful. The risks are to be taken in the practice room and in your lessons where the consequences of failure are minimal as long as you accept them. You do not have to enjoy your failure but you must learn to accept it.
<br />
<br />If you don't find that acceptance, your subconscious mind will work against you by causing paralysis. Last week I saw the signs of paralysis already there. If you continue in this same state of mind, you will become completely paralyzed. You will loose all ability to function on the horn and your career will end.
<br />
<br />Failure is an opportunity to learn. It should not become a barrier to learning.
<br />
<br />I also learned from you last week. I was reminded that I also needed to be able to take risks. But without risk there can be no reward.
<br />
<br /><span style="font-weight:bold;">RISKY BUSINESS</span>
<br />
<br />I mentioned the name of the great principal trumpeter of the Chicago Symphony, Adolph Herseth.
<br />
<br />"A trumpeter's life is risky business. No greatness can be achieved if the player is paralyzed by fear."
<br />
<br />I will show you the path to success but only you can walk the "yellow brick road". However if you do, I promise you will find what you are looking for in Emerald City.
<br /> <span style="font-weight:bold;">
<br />THE INFLUENTIAL INSTRUMENT</span>
<br />
<br />You are the master of your mind. Don't allow a mindless piece of brass to take that away from you.
<br />
<br />You only have to concentrate on the mental singing while you play. Increase your tonal resonance by buzzing loudly on the mouthpiece outside the horn first. Then transfer that sound to the horn. Remember that the horn has no sound of it's own. You must fill it with sound!
<br />
<br />If you don't know the music well enough then sing it vocally first, then buzz, and finally send the music to the horn. Repeat the singing and buzzing three times. Repeat the sets until you are in "Emerald City".
<br />
<br />"Follow the yellow brick road."
<br /><span style="font-weight:bold;">
<br />PERSISTENCE AND DETERMINATION</span>
<br />
<br />Anything worthwhile in life involves risk. Most people do not realize their dreams because their fear of failure will not allow them to take the necessary risks. ... played 50 auditions before winning the Philharmonic. He failed 45 times but did not allow the failure to paralyze him. Each failure was an opportunity to learn.
<br />
<br />I describe myself as a "Master of Failure". I have personally experienced all the failure that I have ever seen in my students. I have never enjoyed my failure, but it brought me to a new level of understanding about how to create success. First, in my own playing then in my students.
<br />
<br />You are coming to Chicago because you want to experience the knowledge that has brought your friends success. You will return to New York with a new level of understanding about how to create your own success.
<br />
<br />I promise you won't be disappointed.
<br />
<br /><span style="font-weight:bold;">THE WIZARD OF OZ</span>
<br />
<br />What did the four characters learn about themselves at the end?
<br />
<br />"Somewhere Over The Rainbow" is my personal theme song.
<br />
<br />Do you know the story of "The Wizard Of OZ"? If you have not seen the movie, rent it. What is the most important thing that is learned from the story?
<br />
<br /><span style="font-weight:bold;">LIBERATION</span>
<br />
<br />You won't be fully liberated until you can completely free yourself from self awareness when you play. It's just the singing! You already are a liberated mouthpiece player! The influence of the horn and your past experiences are powerful stimuli that want to dominate your awareness.
<br />
<br />It's just the singing!
<br />
<br />You are experiencing what I call the "Jekyll and Hyde Syndrome" (next post at rogerrocco.com). The conflict between old Marc and new Marc. Old Marc cannot be erased, he must be replaced. You have a powerful need to be successful. That's the most important element of problem solving. What must follow is discipline and time. (Scott Peck, MD. - The Road Less Traveled)
<br />
<br />"Follow the yellow brick road."
<br />
<br /><span style="font-weight:bold;">COURAGE AND COMMITMENT</span>
<br />
<br />You have the knowledge and potential to achieve your goals. I promise if you continue on the path that we are showing you, there are no limitations to what you can achieve.
<br />
<br />However, you must be able to commit to what we are telling you. Only your success will motivate you to do that.
<br />
<br />Yes, people will not accept what you are experiencing unless they experience it themselves. The only thing any of us can do is to help others to become liberated also. I have been fighting for my beliefs my entire career. I will continue to do so as long as I can.
<br />
<br />It's just the singing!
<br />It's just the singing!
<br />It's just the singing!
<br />
<br />Trading in the Zone, Mark Douglas
<br />The Secret of the Ages, Carter
<br />
<br /><span style="font-weight:bold;">CONDITIONED REFLEX</span>
<br />
<br />The instrument is influencing your mind because of negative association over time (Pavlov-conditioned reflex).
<br />
<br />You notice that it's not difficult to maintain concentration playing the mouthpiece alone.
<br />
<br /><span style="font-weight:bold;">MOUTHPIECE PLAYING
<br /></span>
<br />You need to do 30-45 minutes daily of recreational playing on the mouthpiece away from the horn. Play along with recordings. When you place the mouthpiece in the horn, keep playing the mouthpiece rather than the horn. It's a wonderfully liberating experience to be free of the influence of the instrument. I don't play the instrument anymore. I only play the mouthpiece. I don't care where it is!
<br />
<br />Andre because liberated from the trumpet because he could only play the mouthpiece for months at a time while in the French Army. His expectation of success was the result of the history of success that he created. He was completely liberated from trumpet playing on the smaller instruments. I did notice that the unfamiliar Bb trumpet did distract him at times.
<br />
<br /><span style="font-weight:bold;">REALITY AND FANTASY</span>
<br />
<br />This is a quote from you I had written on a slip of paper, tacked to my stand:
<br />
<br />"The subconscious mind cannot distinguish between reality and a powerful belief."
<br />
<br />Therefore, sing.
<br /><span style="font-weight:bold;">
<br />EXTERNAL-INTERNAL MOUTHPIECE PLAYING</span>
<br />
<br />I have been thinking about your lesson yesterday. I suggest that you do a lot of external buzzing of the music. You are completely free when the mouthpiece is not in the horn. The procedure that I'm suggesting will allow you make the transfer to the instrument. It's really just a 17 ft. mouthpiece with valves. You might want to buzz near the opening of the leadpipe. Move the mouthpiece closer with each repetition.
<br />
<br />I recall the advice I gave to a student at the end of his final lesson before the Falcone International Euphonium Competition. I said, "Do you have the discipline to follow what I'm going to suggest?" He responded, "Yes, Mr. Rocco."
<br />
<br />I first advised him to buzz the music externally three times before playing the mouthpiece the fourth time inside the instrument. I asked him to repeat the sets
<br />until he achieved the level of performance he wanted.
<br />
<br />I also mentioned that it was important to first buzz three times even though he might not think it was necessary in subsequent sets.
<br />
<br />He followed the procedure precisely and ultimately won first prize in the week-long competition. You deserve the gig so do what is necessary to get it!
<br />
<br /><span style="font-weight:bold;">TRANSCEND THE HORN</span>
<br />
<br />Keep reminding yourself what is necessary to successfully execute the notes on the horn. You are a very fine musician but you must transcend the influence of the horn so that the music that's within you can emerge. Keep it simple. You are not in a continuing state of analysis when you walk or talk. You are free to say words and walk because you have no conscious awareness of how to do it.
<br />
<br />You are free at the conscious level of awareness because you are leaving walking and talking to your subconscious brain. That allows you to consciously focus on the message of the words rather than the motor skills necessary for the realization of the words. You have a much richer message when you are free to function in this manner. Playing the horn is exactly the same. Jake says, "The key to success is found in speech".
<br />
<br />You will transcend playing the horn when you are 100% committed to just the singing. If you find that, at any given moment, you are not making the commitment to singing, it's because your conscious awareness of the music is not powerful enough for your subconscious brain respond. Instead, your subconscious brain will try to seek an awareness of the sound by trying to make ears out of your lips.
<br />
<br />Remember your tools to elevate your awareness of the music is vocalization and loudly buzzing. At first, practice the singing with music that's not audition repertoire. Practice singing Paudert, Galley, Kopprasch, and Arban first to establish your commitment to just the singing. Then transfer your commitment to singing when you play the repertoire.
<br />
<br />You must master the singing first in order to master playing the horn. When you are able to do this, you will be free on the negative influence of the horn. The horn has no intelligence or music. That can only come from you.
<br />
<br />I suggest that you print or rewrite this dissertation and read it several times a day to help remind you. You must have the courage to succeed in spite of your fear. Fear is a barrier only if you allow it to paralyze you. You can't control fear but you can control your response to it.
<br /><span style="font-weight:bold;">
<br />It's so simple! Just sing the notes in your head as you play them.</span>
<br />
<br /><span style="font-weight:bold;">JOY</span>
<br />
<br />Bring yourself to the level of concentration where there is only the mental singing, the horn only exists on a peripheral level. Listen to the Jacobs CD where he talks about "singing in the head while playing" with only peripheral awareness of what you are doing.
<br />
<br />Practice this by bringing the horn to playing position and mentally sing the notes while fingering. Do this in sets of three, then sing the same while executing the notes as the fourth repetition. Follow this procedure until you achieve a disconnect from the horn.
<br />
<br />Listen to Jake discuss the problems of playing the horn versus focusing on the music of the horn. That's it! When you are free of the negative influence of the instrument ,as Jake says, "Playing is a joy!"
<br />
<br /><span style="font-weight:bold;">LIBERATION</span>
<br />
<br />The reason they came to me was, like almost everyone else, they were struggling at some point in their careers. They found liberation from the influence of the instrument in their commitment to the music.
<br />
<br />Your liberation will also be based on your commitment to the music. Remember, you can't erase your past. You can only replace it with something new. The replacement (singing) takes time because you must transcend your history of playing by feel.
<br />
<br />If you have the patience and determination to "Follow the yellow brick road", I promise you will be rewarded in Emerald City!
<br />
<br /><span style="font-weight:bold;">JEKYLL AND HYDE SYNDROME</span>
<br />
<br />Every day, I remind myself that I must mentally sing as I play. If I don't, the failure I hear coming from my instrument will be an unfortunate reminder.
<br />
<br />There are two of you sitting in the same chair every night. The default (automatic) musician plays by feel and fails. The singing musician plays by sound and is successful. You have the power to decide which one is dominant at any moment!
<br />
<br /><span style="font-weight:bold;">THE AUDITION</span>
<br />
<br />Your evaluation of your audition experience is correct. If you are not singing, you will attempt to play by feel. Failure will always be the result.
<br />
<br />"Playing by feel is like trying to drain the water out of a swimming pool with a straw."
<br />
<br />The real test is your will to continue down "The yellow Brick Road." You can't erase your past. It will take more time to replace it.
<br />
<br />"Failure is an opportunity to learn."
<br />
<br />You have already proved your capabilities to yourself and others.
<br />
<br />"Persistence is Omnipotent."
<br />
<br /><span style="font-weight:bold;">"PARALYSIS BY ANALYSIS"</span>
<br />
<br />H.A. Vandercook: "Keep it simple." "If you can sing it, you can play it."
<br />
<br />How is your mouthpiece playing going when it's outside the instrument? I promise that you are mentally singing when you play the mouthpiece alone. Mental singing is very simple and easy. You must sing and play precisely the same manner when you place the mouthpiece in the leadpipe of your trumpet.
<br />
<br />RR: "I gave up tuba playing a long time ago. Now, I play an eighteen foot mouthpiece with valves."
<br />
<br />Adolph Herseth: "When encountering problems musically or technically, first sing (vocally), then buzz.
<br />Transfer the singing and buzzing to the trumpet."
<br />
<br />"Paralysis by Analysis."
<br />
<br />I think you are too analytical about the singing. It's nothing more than transferring precise mouthpiece playing from outside the instrument to the instrument. Don't be concerned with how loud your mental singing is.
<br />
<br />The true measure of your singing is the accuracy and quality of the sound coming from your mouthpiece when it's in your hand or in the trumpet. The trumpet is just an extension of your mouthpiece.
<br />
<br />I strongly suspect that you are playing the mouthpiece well outside the instrument but you become distracted by the trumpet when you place the mouthpiece inside the leadpipe. This is a common problem for many brass players.
<br />
<br />You must transcend the influence of the trumpet with powerful singing and buzzing!
<br />
<br />Adolph Herseth: "Practice entire sessions on the mouthpiece alone to avoid having problems creep into your playing.
<br />
<br />Try this practice procedure.
<br />
<br />1. Play three repetitions of a musical phrase on the mouthpiece outside the instrument.
<br />2. Transfer your external mouthpiece playing to the trumpet on the fourth repetition.
<br />3. Repeat the 3:1 ratio in sets until you have achieved the same success when the mouthpiece is inside the trumpet.
<br />
<br />If can let go of your self analysis and totally commit to the music, I promise you will experience success!!!
<br />
<br />Read my latest post, "The Brassaphone" for reinforcement.
<br /><span style="font-weight:bold;">
<br />THE TRANSFER</span>
<br />
<br />Your transfer only lasts for a short while because you no longer continue playing the mouthpiece inside the trumpet. You stop influencing the trumpet with sound and it begins to influence you (feel).
<br />
<br />RR: "Feel and fail are four letter words to a brass player."
<br />
<br />When you notice this is happening, take the mouthpiece out and buzz again (three repetitions).
<br />
<br />Gradually, you will be able to sustain your mouthpiece playing in the trumpet for longer periods. Eventually, you will become liberated from the negative conditioning of the instrument and free to create sound.
<br />
<br />It is very important that you no longer concern yourself with the mechanics of playing, air or embouchure. Focus all your attention on producing musical sound.
<br />
<br />RR: "Sound motivates function."
<br />
<br />"Follow the yellow brick road."
<br />
<br /><span style="font-weight:bold;">THE FORMULA</span>
<br />
<br />I just want to say - thank you!
<br />
<br />The procedure 3:1 (buzz:play) you described works miraculously! I have to write it again – miraculously! Moreover, I practice on mouthpiece alone for 10 minutes and after that I take the trumpet up and I sound great! The general ease of playing is greater indeed. If I feel that I am not playing on my mouthpieces the same way, I do it when the mouthpiece is outside the horn I stop. I put the trumpet away and I play only on my mouthpiece. Every time it works!
<br />
<br />You are right. I am sure that my problem is caused by the negative conditioning I experience when I bring the trumpet to playing position.
<br />
<br />Can I play the mouthpiece alone for example a one week or more to liberate myself from the negative conditioning of the instrument? Is it dangerous to practice too much on the mouthpiece only?
<br /><span style="font-weight:bold;">
<br />THE REPLY</span>
<br />
<br />Practice 30-45 minutes sessions daily on the mouthpiece, then play phrases back and forth with the trumpet. It is not necessary to play the mouthpiece alone for a week at a time. However, doing so is not harmful. I take my mouthpiece along when I'm on vacation.
<br />
<br />Keep me informed of your progress.
<br />
<br />Follow the yellow brick road!"
<br />
<br />FINGERING THE BRASSAPHONE
<br />
<br />(student question)
<br />
<br />Tell me why you like fingering the funnel.
<br />
<br />I have to admit I was surprised by this idea. The brassaphone is intended to get us away from any influence of the instrument; to get us to focus on the singing alone. I don't focus on tone, volume, or intonation when I play the brassaphone. I just sing.
<br />
<br />When I begin to finger along, I find it distracting. I start contemplating on and off about fingering, which, to my thinking, gets me away from the ultimate goal of liberation from the instrument. I don't want to think about the lips and I don't want to think about breathing either. I'm not sure what purpose fingering serves. I'd like to know how this helps you.
<br />
<br />(RR reply)
<br />
<br />I'm not consciously thinking about the fingering any more than if the mouthpiece was in the instrument. However, I noticed that my buzzing improved because the fingering seemed to distract me from the strange feel of the buzzing with the funnel.
<br />
<br />It's also closer to what happens when I put the mouthpiece in the instrument. I'm buzzing and fingering. The Brassaphone is nothing more than an amplified Berp.
<br /><span style="font-weight:bold;">
<br />"THE THINK SYSTEM"; "IT'S JUST THE SINGING."</span>
<br />
<br />Today I proved beyond a doubt that the Think System works.
<br />
<br />Long story, but basically after beating 12 other fine players, 3 long rounds,
<br />and playing on 5 different horns (my thumb key unsoldered itself right before
<br />the second round, and had to borrow three!), I am the new associate Principal of
<br />the St. Louis Symphony, starting in the Fall. Thanks as always to you!
<br />
<br />I reminded myself of your last email (RR-"It's just the singing.") constantly today, as the Think System allowed me to overcome the strangeness of these horns.
<br />
<br /><span style="font-weight:bold;">"CREATIVE VISUALIZATION"</span>
<br />
<br />I suggest you visit rogerrocco.com and read the post, "Creative Visualization."
<br />
<br />It's all about transcending the reed, instrument, mechanics, and feel with a powerful awareness of the music. When the music is dominant in your conscious awareness, you open the door for your subconscious mind to respond by executing everything that's necessary to to realize the music.
<br />
<br />The real power to play the oboe or do anything else is at the subconscious level of thought. It's no different than what happens when we do everyday things like walking or talking.
<br />
<br />If you like to read, there are a couple of recommended books on the the power of the subconscious mind (<span style="font-style:italic;">The Secret of the Ages</span>) and how to achieve a state of mind dominated by music rather than feel or mechanics (<span style="font-style:italic;">Trading in the Zone</span>).
<br />
<br /><span style="font-weight:bold;">ROCCOISMS</span>
<br />
<br />1. "There is no reason for your success or failure other than your state of mind."
<br />2. "Sound motivates function."
<br />3. "It's just the singing."
<br />
<br /><span style="font-weight:bold;">SELF ANALYSIS</span>
<br />
<br />Oboe players become too concerned about having a perfect embouchure, reeds, and fingers just as brass players pay too much attention to air, chops, or tongue.
<br />
<br />I have often thought about a former great principal oboist of a major orchestra. I probably could have helped him years ago. When I was invited to teach in his country, I learned that he was somewhat a national hero. The lack of understanding is tragic because the problem isn't focal dystonia. It is paralysis resulting from negative conditioning associated with the instrument. Too many great musicians have given up their careers because the medical or educational communities advised them to do so.
<br />
<br />If you have an opportunity, read the latest post, "The Myths of Focal Dystonia"
<br /><span style="font-weight:bold;">
<br />FEEL vs.SOUND AWARENESS </span>
<br />
<br />I knew him from the days when we were on the audition circuit. The problem that many players run into later in their careers is that feel begins to dominate their awareness as they age. They begin a downward spiral of reacting to alter their feel which causes more failure and a greater awareness of how they feel when they play.
<br />
<br />When self awareness dominates musical awareness, the result is always disastrous!
<br />
<br />One of the most destructive developments in brass pedagogy, has been the "feel good" approach to playing. You commonly hear it in the trumpet players who think they must do a 45 minute warm-up routine before they can play.
<br />
<br /><span style="font-weight:bold;">ROCCOISMS</span>
<br />
<br />"Feeling good is a by-product of playing correctly. You can't motivate correct playing by trying to feel good first."
<br />
<br />"Feel and fail are four letter words to a brass player."
<br />
<br /><span style="font-weight:bold;">THE TRANSFER</span>
<br />
<br />It won't take years to replace your old habits with new ones when you play the trumpet. The new habits are already established when you play the mouthpiece outside the instrument.
<br />
<br />Soon, the trumpet will have little impact on your ability to create sound and you will become liberated from it's negative influence.
<br />
<br />"I gave up tuba playing a long time ago. Now, I play an 18 ft. mouthpiece with valves."
<br />
<br />"Follow the yellow brick road."
<br /><span style="font-weight:bold;">
<br />SING BUZZ PLAY</span>
<br />
<br />Yes, I get the picture. Having to fight pitch issues is a major distraction that impacts your state of mind. Ultimately, you begin to experience physical symptoms. It's a no win battle trying to adjust to that chaos all the time.
<br />
<br />As your playing becomes more confident, you can only hope that the other brass players begin to adjust to you.
<br />
<br />RR - "We always realize our expectations."
<br />
<br />Our expectations, positive or negative, are the result of a history of experiences. In time, the expectations become associated with, and influenced by, the instrument we are holding. The environment (performance stage) will also become associated (Pavlov, Conditioned Reflex) with our history and expectations.
<br />
<br />RR - "If we want to alter our expectation of success, we must create a new history of successful experiences with an instrument in our hands."
<br />
<br />"We cannot erase our past. We must replace it with something new."
<br />
<br />Your new history of success, and resulting expectation of success, must first be created in the practice room over a moderate period of time (weeks and months). The history and expectation must be significant enough so that you will be able to bring it to the performance stage.
<br />
<br />I suggest the following approach which will require discipline.
<br />
<br />1. Begin with simple studies such as Getchell and Concone. Gradually progress to your most familiar Charlier etudes. Avoid the orchestra parts for a while because of your expectations.
<br />
<br />2. Loudly buzz phrases externally three times for each time you place the mouthpiece in the leadpipe in a 3:1 ratio. If necessary, repeat the set on the same phrase. As you develop single phrases, repeat the process with two phrases etc. Your goal is to transfer your external mouthpiece playing to the horn. There is no difference between playing the mouthpiece externally or internally. Transcend the difference in feel.
<br />
<br />3. Practice 30-45 minutes a day on the mouthpiece alone. Don't have the trumpet in sight. Leave it in the case or another room. I practiced by taking a walk or playing along with everything I heard on my favorite recordings (Reiner - CSO).
<br />
<br />4. You may want to make a "Brassaphone" by finding a funnel that your mouthpiece will fit into. Buzzing is a little easier because the funnel provides amplification.
<br />
<br />Let's start here and see how it goes for you. I want to know how you are doing!
<br /><span style="font-weight:bold;">
<br />MOTIVATING A LARGE BREATH</span>
<br />
<br />There is only one thing I say about air. "Take in a large breath every time you breathe."
<br />
<br />As a shallow breather, you can play but it's harder and you never develop a resonant sound.
<br />
<br /><span style="font-weight:bold;">ROCCOISM</span>
<br />
<br />"Sound motivates function."
<br />
<br />The ultimate motivation for taking in a large breath is your desire to produce a full, resonant sound. I never consciously think about taking in a large breath. However, I'm always consciously aware of the quality of sound I want to produce.
<br />
<br />That awareness is mostly internal imagination rather than external listening.
<br />
<br />However, the large breath must be conditioned to the big sound so you should spend a few (5-10) minutes daily following this procedure.
<br />
<br />When you buzz and play the phrases from Concone etc., consciously think about sucking in enormous breaths and playing with loud (not forced) sound.
<br /><span style="font-weight:bold;">"Big breath=Big sound"</span>
<br />
<br /><span style="font-weight:bold;">I DON'T WANT YOU TO THINK ABOUT AIR WHEN YOU PLAY. THINK ONLY THE SOUND BY MENTALLY SINGING EVERY NOTE AS YOU PLAY IT.
<br /></span>
<br /><span style="font-weight:bold;">ROCCOISM</span>
<br />
<br />"When you are playing, air is not detectable, but sound is highly detectable."
<br />
<br /><span style="font-weight:bold;">HERSETH</span>
<br />
<br />"Think sound not mechanics."
<br />
<br />Have the patience to continue to develop the new trumpeter. In time, he will begin to dominate old player more and more. You will be able to develop a higher level of confidence with more challenging music and on stage.
<br />
<br />You are on the road to recovery. I want continued updates on your progress.
<br />
<br /><span style="font-weight:bold;">"Follow the yellow brick road."</span>
<br /><span style="font-weight:bold;">
<br />"It's just the singing."</span>
<br />
<br />Avoid all other conscious awareness such as lips, breathing, or fingers by focusing only on mental singing. When you have a powerful mental awareness of the music, you communicate that awareness to your subconscious. It has the power to realize your conscious singing as you play the instrument.
<br />
<br /><span style="font-style:italic;">ROBERT CARTER (The Secret of the Ages)<span style="font-style:italic;"></span></span>
<br /><span style="font-weight:bold;">
<br />"The conscious mind is the gateway to the subconscious."
<br /><span style="font-weight:bold;">
<br />ROCCOISM</span>
<br />
<br />"It's just the singing!"</span>
<br />
<br /><span style="font-weight:bold;">THE MOTIVATOR</span>
<br />
<br />You already know how to play your instrument at the highest level of performance. You just need to motivate that knowledge and skill that's within you right now.
<br />
<br />"Your mind already knows how to play the notes. It just needs to be highly aware of what notes you want to play."
<br />
<br />Mental singing is the highest level of conscious musical awareness that you can create.
<br />
<br /><span style="font-weight:bold;">ARNOLD JACOBS</span>
<br />
<br />"I sing the notes in my head as I play them. It doesn't matter how my lip feels or how I feel."
<br />
<br /><span style="font-weight:bold;">"Follow the yellow brick road."</span>
<br /><span style="font-weight:bold;">
<br />FEEL AND FAIL</span>
<br />
<br />Congratulations! Bravo!
<br />
<br />"It's just the singing. It's just the singing, It's just the singing."
<br />
<br />You must constantly remind yourself, it's just the singing. As you experience more success in the practice room, your expectation of success on the stage will grow.
<br />
<br />Write those words down and keep them on your stand to help remind yourself.
<br />
<br />It's natural to respond to the physical symptoms of failure because playing feels so uncomfortable. However, responding to symptoms rather than cause, encourages the symptoms rather than eliminating them. The more you try to eliminate the symptoms, the worse they become.
<br />
<br />RR - "Feeling good is a by-product of playing correctly. You cannot motivate correct playing by trying to feel good first."
<br /><span style="font-weight:bold;">
<br />FIRST LESSON</span>
<br />
<br />1. Loudly buzz phrases three times externally. Make sure your pitch is accurate but mostly focus on producing a big sound.
<br />2. Play the mouthpiece inside the horn on the fourth repetition. Continue playing the mouthpiece even though it's in the horn. Do not play the horn!
<br />3. Repeat the four repetition sets until you are satisfied with a noticeable result.
<br />4. Move on to the next phrase and repeat the procedure.
<br />5. Practice 30-45 minutes a day on the mouthpiece alone. Keep the horn in it's case or in another room. Take long mouthpiece buzzing walks or play along with your favorite recordings.
<br />
<br /><span style="font-weight:bold;">Adolph Herseth:</span>
<br />
<br />"Practice entire sessions on the mouthpiece alone to avoid having problems creep into your playing."
<br />"When encountering problems technically or musically, first sing then buzz. Transfer the singing and buzzing to the instrument."
<br />
<br /><span style="font-weight:bold;">Roccoisms</span>
<br />
<br />Sound motivates function.
<br />
<br />Sing, Buzz, Play
<br />
<br />It's just the singing and buzzing.
<br /><span style="font-weight:bold;">
<br />THE FULL BREATH</span>
<br />
<br />You only need to establish the full breath as a habit. This requires repetition over time.
<br />
<br />Here is a procedure I recommend.
<br />
<br />Practice simple music, such as Concone, Getchel, or Bordogni by phrase. Pause long enough between phrases to take in maximum breaths. If you practice this procedure for a few minutes a day, you will establish the full breath as subconscious conditioned response.
<br />
<br />Follow this procedure for a few minutes each day. Don't be concerned consciously about regulating your inhalation. Once you have established the full breath as a habit, let your subconscious mind adjust your inhalation based on the tonal requirements of the music you are playing.
<br />
<br />"Sound motivates function."
<br />
<br /><span style="font-weight:bold;">PLAY THE MOUTHPIECE NOT THE INSTRUMENT</span>
<br />
<br />The first thing I want you to know is that I promise I can help you!
<br />
<br />RR: "I have personally experienced your worst moment of failure. I hope you never have an opportunity to experience mine."
<br />
<br />You have been reacting to the uncomfortable physical and emotional symptoms of failure. It is normal to want to eliminate those symptoms. However, you must deal with what is causing such painful and paralyzing conditions in your playing rather than the symptoms.
<br />
<br />Herseth: "There's nothing wrong with your chops. Your mind is messing them up."
<br />
<br />RR: "There is no reason for your success or failure other than your state of mind."
<br />
<br />The good news is that the doctors told you there is nothing wrong physically.
<br />
<br />RR: "Sound motivates function."
<br />
<br />Herseth: "When encountering problems technically or musically, first sing then buzz. Transfer the sing and buzzing to the horn."
<br />
<br />"Practice entire sessions on the mouthpiece alone to avoid having problems creep into your playing."
<br />
<br />RR: "I gave up tuba playing a long time ago. Now, I play an 18ft mouthpiece with valves."
<br />
<br />"Play the mouthpiece not the instrument."
<br />
<br />A history of failure has been established with the horn in your hands. A powerful negative association has been created over time. Your physical and emotional pain is triggering a protective response in your subconscious mind that is attempting to prevent further pain. However, the response is causing paralysis and even greater pain.
<br />
<br />You must transcend the horn by creating an even more powerful awareness of the music.
<br />
<br />Early in his career Herseth's mouth was severely injured in a car accident. He was in great pain. The doctors told him to take a year off from playing to heal. His strong character would not allow him to give up the horn for a year.
<br />
<br />When he warmed up in his home studio, he could barely play because the pain was dominant. However, he had the courage to go on the stage anyway. He discovered that he could play because his awareness of the music was more powerful than the pain. Everyone says that he ultimately became a greater player because he developed a more powerful musical mind.
<br />
<br />I suggest that you read "The Internet Lessons" at rogerrocco.com Especially focus on what I say regarding mouthpiece playing in general and the 3:1 ratio of playing the mouthpiece outside vs. inside the horn.
<br />
<br />You must accept (You don't have to like it!) the fact that your mouthpiece playing feels uncomfortable and may not sound very good.
<br />
<br />RR: "We can convert bad sound into good sound. We cannot convert silence into good sound."
<br />
<br />Practice 30-45 minutes each day on the mouthpiece alone. Play along with recordings or take mouthpiece practice walks, playing melodies (Mozart Concertos etc.) not exercises.
<br />
<br />When you transfer to the horn, have the discipline to buzz externally 3 times for every time the mouthpiece is in the leadpipe. Most importantly, when the mouthpiece is in the instrument, continue to play the mouthpiece. Do not play the horn!
<br /><span style="font-weight:bold;">
<br />THE TIGER</span>
<br />
<br />RR: "We cannot erase our past. We must replace it with something new."
<br />
<br />Have the patience to continue on your path to success (Yellow Brick Road). As time passes, the new player will grow and the old player will fade. However, the old player will never be erased from your long term memory. All our life experiences are preserved forever. That's both good and bad news because your greatest experiences and your worst experiences can be revisited anytime.
<br />
<br />RR: "Being chased by a tiger is fatal only if you cannot outrun it."
<br /><span style="font-weight:bold;">
<br />THE BRASSAPHONE</span>
<br />
<br />Tubaphone is just the name I give to the megaphone I use for tuba players. I use the generic term Brassaphone for all brass. Or I say Bonaphone for trombone and Euphaphone for euphonium etc.
<br />
<br />It's nothing more sophisticated than a cone or funnel that the brass player can insert a mouthpiece into. However, the instrument is just a larger cone. We must approach playing the cone and the instrument in the same manner.
<br />
<br />"Follow the yellow brick road."
<br /><span style="font-weight:bold;">
<br />SYMPTOMS OF FAILURE</span>
<br />
<br />Your physical symptoms are the result of your “state of mind” when playing the horn. The instrument has become a “hot stove” in your hands. You would experience trembling and paralysis if you were forced to touch a hot stove or do anything that was dangerous or very unpleasant.
<br />
<br />When brass players experience too much failure, it’s as though someone is pointing a double barreled shotgun at their head. We experience both emotional pain and physical discomfort.
<br />
<br />There is a protective reaction in the subconscious that wants to protect us from emotional and physical harm. Unfortunately, while the subconscious is trying to protect you from experiencing anxiety and the physical discomfort associated with playing, it’s sabotaging your conscious will. The result is causing even more anxiety, physical discomfort (trembling and pain), and paralysis (tongue).
<br />
<br />Your natural response is to try to consciously eliminate the physical symptoms. Since they are a subconscious reaction to your playing experiences, you cannot make conscious corrections. Since your symptoms are the result of your state of mind, the recovery must be to alter your state of mind while playing.
<br />
<br />RR “There is no reason for your success or failure other than your state of mind.”
<br />
<br />While playing, your conscious awareness is dominated by “feel” rather than sound.
<br />
<br />RR “Feel and fail are four letter words to a brass player.”
<br /> “Sound motivates function.”
<br />
<br />You must discontinue the self analysis in a mirror or otherwise! If you can, stop the medications. They are not dealing with the cause of your problems.
<br />
<br />Eventually, your “feel” dominated mind will cause your subconscious to completely paralyze you when attempting to play as I personally experienced in 1976. Read “A Brass Player’s Story”.
<br />
<br />Since the instrument has become a powerfully negative influence on your subconscious, you must begin to create success away from it. Your dominant conscious awareness must be entirely focused on the sound you want to produce.
<br />
<br />Your powerful tools to raise your awareness of sound are to sing vocally and mentally, and to play the mouthpiece outside the instrument.
<br />
<br />Herseth “When encountering problems technically or musically first sing then buzz. Transfer the singing and buzzing to the instrument. Practice entire sessions on the mouthpiece alone to avoid having problems creep into your playing.”
<br />RR “Sing, Buzz, Play”
<br />
<br />I suggest you read “The Internet Lessons”. I add to the post daily. You will see this posted enormously today. You must have the discipline to follow the SBP formula that I have suggested to others.
<br />
<br />RR “My students and I have failed to apply the SBP formula. However, it has never failed us when we did apply it.”
<br />
<br />“Play the mouthpiece not the instrument.”
<br />
<br />“I gave up tuba playing a long time ago. Now I play an 18 foot mouthpiece with valves.”
<br />
<br />“Follow the yellow brick road.”
<br />
<br /><span style="font-weight:bold;">MOUTHPIECE TRANSFER </span
<br />
<br />RR "I gave up tuba playing a long time ago. Now I play an 18ft. mouthpiece with valves."
<br />
<br />When you place the mouthpiece in the leadpipe of the tuba, you stop playing the mouthpiece. Do you have a Berp (brasswind,com $20?)? You can also tape a small tube to your leadpipe that you can insert your mouthpiece into.
<br />
<br />Loudly buzz externally and finger the tuba several times before placing the mouthpiece in the leadpipe. Then loudly buzz and finger the same music in the same manner when the mouthpiece is in the horn. Don't be concerned about your cheeks, lips, air or anything other then the sound.
<br />
<br />Another approach is loudly buzz and finger with the mouthpiece about a couple of inches from the end of the leadpipe. With each repetition (4 or 5), move the mouthpiece closer to the opening of the leadpipe until the mouthpiece is fully inserted in the horn.
<br /><span style="font-weight:bold;">
<br />THE DANGER OF SELF ANALYSIS<span style="font-weight:bold;"></span></span>
<br />
<br />A couple thoughts regarding your lesson today. The student needs to be distracted from her analytical self. Her self analysis was imposed on her by other teachers. She's not to blame!
<br />
<br />Of course, the distraction must always be the music. I suggest that you create a powerful musical environment by singing and playing along with her. She must experience success motivated by music in a powerful manner or she will continue to try to analyze her way to success. The Witches Castle!
<br />
<br /><span style="font-weight:bold;">SIMPLIFY AND TRANSFER</span>
<br />
<br />You don't need to buzz externally in the same register to have the same effect when you transfer to the horn. Often, I have students buzz an octave higher or lower externally because they sound better. The important thing is to transfer the same playing technique and quality of sound to the horn when you place the mouthpiece in the leadpipe.
<br />
<br />RR: "Simplify and transfer"
<br />
<br />If you have difficulty making the the transfer to the instrument, it's because your musical awareness (mental singing) is not powerful enough to transcend the "feel" influence of the instrument. Additional external buzzing repetitions are required. 3:1 ratio is very powerful.
<br />
<br />It's very important that you stay focused on the the path that has brought you some success.
<br />
<br />Herseth: "There's nothing wrong with your chops. Your mind is messing them up."
<br />
<br />"When encountering problems technically or musically, first sing then buzz. Transfer the singing and buzzing to the instrument."
<br />
<br />RR: "Sing, Buzz, Play"
<br />
<br />"It's just the singing and buzzing."
<br />
<br />"Follow the yellow brick road."
<br /><span style="font-weight:bold;">
<br />IT'S JUST THE SINGING!</span>
<br />
<br />If you consciously sing the notes in your head as you play them, I promise that you will send them to the mouthpiece and into the horn.
<br />
<br />Your concentration level must be at a higher level when playing the mouthpiece inside rather than inside the horn because you must transcend the negative conditioning that has been associated with the instrument.
<br />
<br />Your external mouthpiece playing is fantastic! Now, it's just a matter of transferring it to the horn.
<br />
<br />"It's just the singing."
<br />
<br /><span style="font-weight:bold;">"THE HOT STOVE"</span>
<br />
<br />It's not necessary to avoid performance commitments unless you are insecure about your chances of performing successfully. If you expect to fail then it's best to avoid putting yourself and your colleagues in an uncomfortable situation. The emotional pain and physical discomfort resulting from failure will become associated with the horn in an even more powerful manner.
<br />
<br />There is a subconscious response in the brain that wants to protect us of from harmful or uncomfortable physical or emotional experiences. The response is usually in the form of paralysis or less often, involuntary muscle contraction (dystonia). The result is sabatoge! The conscious mind wants to play the instrument but the subconscious, which is more powerful, wants to prevent the negative experiences associated with playing.
<br />
<br />You don't need to give up playing the mouthpiece in the horn. I recommend that you play the mouthpiece without the horn for 30-45 minutes a day in a single session. To minimize it's influence, the instrument should not be in the same room.
<br />
<br />Next, spend 30-45 minutes transferring the external buzzing to the horn. Practice short phrases, buzzing externally 3 times before playing the mouthpiece in the leadpipe. Your goal is to play the mouthpiece the same (singing and buzzing) when it's in the horn. Imagine that you are just playing a longer mouthpiece. Repeat the sets (3:1) until you have achieved success.
<br />
<br />If you find that you are unable to play the mouthpiece when it's fully inserted into the leadpipe. Place it in halfway or one quarter. Many players, myself included, find that as soon as the mouthpiece is fully inserted in the leadpipe, the conditioned response associated with the instrument takes over. I promise that with more repetitions, you will be able to transfer your mouthpiece playing to the horn.
<br />
<br />RR "I gave up tuba playing a long time ago. Now, I play an 18ft mouthpiece with valves."
<br />
<br />"Play the mouthpiece, not the instrument."
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<br /> Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com2tag:blogger.com,1999:blog-5301079526041772488.post-14889233150232755252010-02-21T17:29:00.000-08:002010-02-21T18:02:59.644-08:00The Lesson<span style="font-weight:bold;">ROCCOISMS</span>
<br />
<br />“The job of a teacher is to create opportunities for success.”
<br />
<br />“A lesson with Mr. Rocco is like an opera performance. There’s an overture, a plot with acts, scenes, and the Finale Ultimo.”
<br />
<br />“The first lesson must be a life altering experience that is remembered by the student for their entire lives.”
<br />
<br />“When you leave your lesson today, take everything with you. Don’t leave a single crumb on your plate.”
<br />
<br />“We are all teachers. Our most important student is the one we see in the mirror every day.”
<br />
<br />“If you want to fully understand what I’m teaching you, teach it to someone else.”
<br />
<br /><span style="font-weight:bold;">THE OVERTURE</span>
<br />
<br />My first lesson with Jake, in September of 1966 when I was just a seventeen year old high school student, was a day that I will remember forever. I recall every aspect of it from walking past his ordinary house because I thought he must live in a mansion, to the smoking jacket he wore when he greeted me at the door.
<br />
<br />The lesson was not very instructive because he mostly just listened. However, I’ll never forget the incredible commitment he made to me at the end. He said, “I’m putting you in the Civic Orchestra and giving you a full scholarship to study with me.”
<br />
<br />Then he said, “The reason is that you sound as though you have already been studying with me for three years.” WOW! At the time, I didn’t fully understand the significance of his words. Later, I understood they were the most important words he ever said to me.
<br />
<br />Generally, a student’s first lesson with me is not the first lesson of their career. Most often, they come to me because they are still searching for the “holy brass grail.” One of my students, a fine German trumpet player, previously studied with sixty teachers throughout the world.
<br />
<br />Since these students are still searching for the reasons for their failure, my highest priority must be their liberation from that endless process. From their first experience, they must know that they have been freed and have finally discovered a new level of understanding of how to be successful. Their experience cannot be subtle, it must dramatic. If it’s not, they will continue to search else ware and our time together will have been a meaningless event.
<br />
<br />It is never enough for a student to experience only successful performance in their first lesson. They must leave my studio with a thorough understanding of why it occurred. Without that understanding, they will not be able to duplicate their successful experiences on their own. That will open the door for future searching. There will be no liberation, only a continuation down the path of failure. For those students who return for more lessons, everything we do is just a reinforcement of the first experience.
<br />
<br /><span style="font-weight:bold;">ACT ONE </span>
<br />
<br /><span style="font-weight:bold;">SCENE 1, THE EVALUATION</span>
<br />
<br />Most of my lessons begin with a conversation. I realize the student may be distracted by nervousness, so I bring them back to creating music by reminding them what is necessary for their success. When they are assured that their success is probable, there is no longer a reason for anxiety.
<br />
<br />With new students, I’ll ask about their background and personal goals in music. I frequently ask, “Where are you five years from now.” Sometimes they don’t know and other times they tell me where they hope to be. In either case, I get a lot of information about their “state of mind”. I remind them that I didn’t ask where they hope to be, I ask where they are? There is a huge difference between the two states of mind.
<br />
<br /><span style="font-weight:bold;">ROCCOISM</span>
<br />
<br />“Carefully choose the words you think or say. They have a powerful influence on your state of mind and that of others.”
<br />
<br /><span style="font-weight:bold;">THE VISION</span>
<br />
<br />I always discuss the importance of developing a clear vision of short and long term goals, and the need to mentally focus on them on a daily basis (Creative Visualization). Too often, students only visualize the reality of where they currently are on their journey of development. As long as they continue to see themselves as students, they will remain at the student level.
<br />
<br />I encourage advanced brass players, hanging around the “Fantasy Land” of a college campus, to venture out to “Reality Land” to start taking professional auditions.
<br /><span style="font-weight:bold;">
<br />ROCCOISMS</span>
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<br />“One danger of working on advanced music degrees is that while on campus, you will always be seen as a student by others and you will see yourself the same way.”
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<br />“Once my students have developed a clearly defined vision of their future goals, I develop my own vision of what I need to do to help them.”
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<br /><span style="font-weight:bold;">SCENE 2, LET ME HEAR YOU PLAY!</span>
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<br />Whether they are new or returning students, I always allow them to first play what they want. I know they wish to either demonstrate what they can do well or in some cases what is not going well. I never encourage the latter!
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<br /><span style="font-weight:bold;">ROCCOISM</span>
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<br />“Pretend you are alone in a practice room. What would you play to begin your practice session?”
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<br />With a new student, I can evaluate everything about their playing within the first thirty seconds.
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<br />1. From their choice of music, I quickly learn about their range and technical development.
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<br />2. Their tone production is very obvious as is their overall musical character.
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<br />Most of the people who come to me for a lesson are experiencing failure at some level and have been doing so for quite awhile. They might be having problems with tone production, range, accuracy, articulation, or combinations of factors.
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<br />Frequently, they complain about their embouchure, air, tongue, or throat. I always listen carefully to their words because I am looking for clues to their present state of mind. Even if what they say is not truthful, I read between the lines. I also carefully observe body language for clues to the player’s state of mind. They are transparent so can’t hide anything from me. Sometimes, they try to do so.
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<br /><span style="font-weight:bold;">ROCCOISMS</span>
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<br />“I have personally experienced your worst moment of failure. I hope you never experience mine.”
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<br />“You must me an honest musician because you have a lie detector in your hands.”
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<br />“Your physical problems are only symptoms of a mental problem.”
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<br />“My words are meaningless unless you personally experience what I’m saying.”
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<br />ARNOLD JACOBS</span>
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<br />“There are two instruments, one in your hands and one in your head. The one in your hands is a true mirror, reflecting the one in your head.”
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<br />ROCCOISM</span>
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<br />"The only mirror in the room is the one made of brass that you are holding."
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<br /><span style="font-weight:bold;">ADOLPH HERSETH</span>
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<br />“There is nothing wrong with your chops. Your mind is messing them up.”
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<br />I recall the first words I heard from a professional trumpet player who walked into my studio for the first time. He said, “I have bad news. I just came from the doctor and he told me there’s nothing wrong with my chops.” I responded, “That’s the good news!”
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<br />He was hoping there was a medical reason for the paralysis he was experiencing. He soon learned that his problem was not in his chops but in his head.
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<br /><span style="font-weight:bold;">SCENE 3</span>
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<br /><span style="font-weight:bold;">SUCCESS!!!</span>
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<br />The student must experience significant success very soon in the lesson. From my initial evaluation, I completely understand what is going on. If things are going well, I motivate them to perform at the next level. Usually, that involves a more resonant sound or easier tone production by encouraging them to take a larger breath.
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<br />If the student is struggling to play at all, I motivate them to experience success at some level. I may ask them to play less complex music that does not challenge them beyond their ability to function at the moment. Sometimes, the success first comes with mouthpiece playing.
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<br /><span style="font-weight:bold;">ACT TWO, SCENE 1</span>
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<br />THE CHALLENGE</span>
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<br />As the lesson progresses, I challenge the player to transfer their successful experiences to more difficult music. Frequently, I’ll ask them to play something they think they have no chance of playing well. However, I always ask what their expectation level is; high, middle, low or, no chance.
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<br />ROCCOISMS</span>
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<br />“I never allow a student to play unless they expect to be successful because I never want to motivate failure.”
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<br />If a student tells me their expectation of success is at a middle or lower level, I ask them what they should do to raise their level to high. Most often, they say they want to buzz the mouthpiece. I allow them to buzz until they say they are ready to play the instrument. Most often, they will be able to execute the passage.
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<br />Sometimes, they require additional repetitions of buzzing. I encourage them by saying, “You are almost there.” It’s very important to patiently continue the process of singing and buzzing until success has been achieved. As a teacher or player, I have never failed to achieve success, applying the Sing, Buzz, Play (SBP) formula.
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<br /><span style="font-weight:bold;">SCENE 2</span>
<br /><span style="font-weight:bold;">
<br />FINALE ULTIMO</span>
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<br />ROCCOISMS</span>
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<br />“The lesson must not conclude until the student has achieved their highest level of success.”
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<br />“It is very important for a teacher to communicate to the student that they expect them to be successful.”
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<br />“I promise that if you do what is necessary to achieve success, you will be greatly rewarded.”
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<br />“Tell me what you need to do in order to achieve success.”
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<br />Finally, I ask the student what is their most insecure passage on an upcoming audition or recital. If they have trouble coming up with a response, I suggest one for them. If they mention something that I think is beyond their capabilities at the moment, I'll ask them to select something else. However, that’s very rare. At this point in the lesson, they are usually ready to play anything but may not realize it.
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<br />For instance, I may ask an advanced horn player to perform Till or Siegfried. I always first inquire about their expectation level which most often is low. Then we raise their expectation level by raising their awareness of the music (SBP). It’s only when they and I have a high expectation of success, that they are allowed to play. Bongo! Most of the time, they nail the passage and the lesson ends with a hand shake. Occasionally, another repetition or two is required before the hand shake. Frequently, I’ll conclude by reminding them, “That’s why you came here today.”
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<br /><span style="font-weight:bold;">THE EPILOGUE</span>
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<br />In conclusion, I ask the student the following questions:
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<br />1. What was the most important thing(s) you learned today?
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<br />2. Did you achieve success?
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<br />3. Why did it happen?
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<br />4. When you failed, do you understand why?
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<br />What follows is time for clarification and reinforcement of the important questions.
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<br />Finally, I remind them to take all their new knowledge and experience with them when they leave. I also assure them that our time together was not a single event. They can communicate with me or return anytime.
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<br /><span style="font-weight:bold;">THE WIZARD OF OZ</span>
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<br />“Follow the yellow brick road.”
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<br />Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com1tag:blogger.com,1999:blog-5301079526041772488.post-86711175867967465512010-02-11T16:26:00.000-08:002010-02-14T05:51:19.176-08:00The Jekyll and Hyde Syndrome<span style="font-weight:bold;">ROCCOISMS</span><br /><br />“Old habits cannot be erased. They must be replaced with new ones.”<br /><br />“If a brass player does not play by sound awareness, they will attempt to play by the awareness of feel. That’s like trying to drain the water from a swimming pool with a straw.”<br /><br />“Feel and fail are four letter words to a brass player.”<br /><br />“Your mind is like a flickering candle as it fluctuates between sound awareness and feel awareness.”<br /><br />“Your ears cannot function like lips and your lips can never become ears.”<br /><br />“Two musicians are sitting in your chair. There is conflict between the one who is mostly successful when they perform, and one who usually fails. If either player is a possibility, the one who fails will always win the battle.”<br /><br />“The brain normally prioritizes the senses in the following order: sight, hearing, feel, smell, taste.” <br /><br />"Awareness of feel motivates sensory systems (input). Awareness of sound motivates motor systems (output).<br /><br /><span style="font-weight:bold;">ARNOLD JACOBS</span><br /><br />"We cannot create sound through sensory systems, only motor systems." <br /><br />"Sensory systems and motor systems travel down a one way street."<br /><br />From the beginning, if a brass player does not learn to play by auditory awareness, years will be wasted trying to substitute feel awareness. For the following reasons, the result will inevitably be failure <br /><br />1. Feel is a lower level sensory input to the brain. Far less information is communicated by feel than with the senses of sight, or hearing. If only two of the five senses were available to us in our everyday lives, we would function very well if they were the senses of sight and hearing. Humans would be almost paralyzed if we only had the senses of feel, smell, and taste. Some animals do function well within the limitations of these senses because they are more highly developed. <br /><br />If our inner auditory awareness is weak, the subconscious brain immediately reacts by seeking information (input) another way. The brain doesn’t try to detect sound by sight (highest sense level) because that’s impossible. It moves to the lower sense of feel by trying to detect sound with the lips. Because that’s where the mouthpiece is. However, that never works because the lips cannot detect sound anymore than the eyes, nose, tongue, or fingers can.<br /><br />If we put our lips on the receiver of a phone, we could feel vibrations but we could not tell what someone was saying. The lips are very capable of producing sound but they cannot detect it. <br /><br />2. When the subconscious brain is forced into the “feel mode” as a reaction to the lack of auditory awareness, it desperately tries to receive auditory information from the lips. But it fails to receive specific input. With no auditory awareness, all playing mechanics cease. When the brass player instinctively tries to restore playing mechanics at the conscious level of thought. Failure is inevitable because all the knowledge and awareness is in the subconscious! <br /><br />3. At the conscious level of thought, there isn’t enough intellect, awareness, or control of the mechanics of playing. It is no different than walking or talking. We don’t consciously order the mechanics of either function. The mechanics are motivated by our conscious awareness of the words we want to communicate with our vocal chords and where we want to go with our legs and feet. <br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“When we try to bring a subconscious function to the conscious level of thought, we sabotage the powerful symbiotic relationship that exists between the two. That relationship allows us to function freely every moment of our lives.” <br /><br />Once playing by “feel” has been established as a habit, it cannot be eliminated. It must be replaced with something new, playing by sound awareness. However, the old habits will be dominant until new habits have enough time to establish dominance. Inevitably, the brass player will fluctuate between old and new habits. I refer to this condition as the <span style="font-weight:bold;">“Jekyll and Hyde Syndrome”</span>. It creates anxiety, self doubt,paralysis, and eventually results in a high expectation of failure.<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“Inevitably, we always realize our expectations whether we want to or not.” <br /><br />“The longer an old habit has been established, the longer it will take to replace it with a new one.”<br /><br />We naturally want instant solutions to our problems, especially if they are causing deep emotional pain, physical discomfort, or both. However, Scott Peck, MD (The Road Less Traveled) tells us that finding solutions to our problems requires time. And personal need and discipline are necessary for us to allow the required time.<br /><span style="font-weight:bold;"><br />THE WIZARD OF OZ </span><br /><br />In the well known story, The Good Witch of the West tells the characters to, “Follow the yellow brick road”. In Emerald City, you will meet the Wizard of Oz who will give you what you are searching for. Along the way, they are detoured and ended up in the Witch’s Castle, where unpleasant experiences occur.<br /><br />They eventually got back on “the yellow brick road” and make their way to Emerald City. They do find what they were looking for by discovering that it was within them all along. They were successful because they didn’t look for a red or blue road, or some other incorrect path. <br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“When you have found a method that brings you success, embrace it like you would a life preserver.”<br /><br />“A brass player can find success only when they finally liberate themselves from the powerful influence of the mindless tubing in their hands.”<br /><br />“The instrument has no intelligence or sound of its own. That can come only from the mind of a musician.”<br /><br /><span style="font-weight:bold;">THE SEARCH FOR THE BRASS GRAIL</span><br /><br />As a brass player continues to search for reasons for their failure, they will continue to fail. It is only when the searching ends that they can be free to focus all their energy in one direction. Without an effective method, there will be no history and expectation of success.<br /><br />The frustrating fluctuations between success and failure of the Jekyll and Hyde Syndrome, is an unfortunate condition that causes anxiety, fear, and paralysis. Ideally, the syndrome should be avoided from the beginning, but it occurs much too often in most of us.<br /><br />Unless, a brass player learns how to create and maintain the good Dr. Jekyll, Mr. Hyde will dominate. Once a new history and expectation of success has been established, Dr. Jekyll will emerge as the dominate personality. However, Mr. Hyde may recede but he will never be completely dormant.<br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“Being chased by a tiger is fatal only if you can’t outrun it.”<br /><br /><span style="font-weight:bold;">SING, BUZZ, PLAY</span><br /><br />For over forty years, I have found <span style="font-weight:bold;">SBP</span> to be an effective methodology to create success with my students and myself. I also learned that self analysis was not only unnecessary but that it is very destructive. <br /><br />There are no mirrors or breathing devices in my studio. There is only the sound of music coming from vocal chords, a mouthpiece, or a brass instrument. The production of sound must always be our ultimate objective. <br /><span style="font-weight:bold;"><br />ARNOLD JACOBS</span><br /><br />“Go for the product.”<br /> <br />The product is never blowing, fingering, or feeling. It’s musical sound. <br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“The most powerful element motivating playing mechanics is not a conscious awareness of mechanics. It’s the conscious awareness of sound. The highest level of sound awareness is achieved by mentally singing as we play.”<br /><span style="font-weight:bold;"><br />ARNOLD JACOBS</span><br />“I sing the notes in my head as I play them.”<br /><br /><span style="font-weight:bold;">ADOLPH HERSETH</span><br /><br />“Transfer singing and buzzing to the instrument. Add words to enhance your singing.” <br /> <br />"Sound is the criterion for how we do this and that."<br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />"Sound motivates function."<br /><br /><span style="font-weight:bold;">“FOLLOW THE YELLOW BRICK ROAD”</span>Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com3tag:blogger.com,1999:blog-5301079526041772488.post-65675632171367471392010-02-03T15:46:00.000-08:002010-02-04T15:35:27.133-08:00Dynamics<span style="font-weight:bold;">ROCCOISMS</span>
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<br />“Dynamics are the tone controls of sound production.”
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<br />“The study of dynamics is not the analysis of air flow. It is the awareness of sound.”
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<br />“Sound motivates function.”
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<br />Although playing loud is a factor that encourages tone production, healthy tone production must also include developing a wide range of dynamics over a broad tessitura. As the brass player responds to the musical challenges of playing extreme dynamics, they provide themselves with an opportunity to develop control of their sound. They must not become distracted by trying to control undetectable air.
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<br />The most difficult technical challenge any brass player encounters is playing a very soft entrance on a very high note. There are three factors working against them; high frequency, soft dynamics, and attack. All three elements are factors that discourage tone production.
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<br />Like any playing skill, the ability to play a wide range of dynamics in any register must be developed methodically and gradually over time. The goal of lifting a 300 pound weight over your head cannot be achieved by just turning it on like a switch. There must be proper development over extended time.
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<br />Attempting to execute any extreme technical challenge, without methodical and progressive development, will cause failure. A history of failure will create an expectation that leads to increasing failure. We always realize our expectations whether they are positive or negative.
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<br /><span style="font-weight:bold;">SOUND vs. AIR</span>
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<br />Many brass players and teachers think of playing dynamics as the study of air flow rates. Everyone understands that dynamics are created by adjusting the flow rate of air through the embouchure. Loud dynamics require a high flow rate and soft dynamics require a low flow rate. It’s the same requirement a string player has with their bow. They must move the bow faster to play louder. I frequently hear teachers tell their students to use “fast air”.
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<br />However, there is an important fundamental difference between telling a string player to move the bow faster and telling a wind player to move the air faster. A string player can have an awareness of their bow with the senses of sight and feel.
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<br />A wind player cannot see air and they only have a very vague awareness of it by feel. Air can be felt if we blow it on our hand, but that doesn’t occur when playing a wind instrument.
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<br />Some teachers try to create detection of air by having their students imagine a moving object, such as a stream of water. However, that is a useless and unnecessary exercise that will not successfully motivate all the elements of tone production. There must always be a strong association between playing and a musical sound.
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<br /><span style="font-weight:bold;">ROCCOISMS</span>
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<br />“There can only be a vague awareness of air when we play. However, it is possible have a powerful awareness of sound.”
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<br />“The brass player’s awareness of sound motivates air and all the other elements of playing, not the other way around.”
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<br />“Function motivates sound is weak methodology because self analysis results in paralysis.”
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<br />“Technical development is the result of musical challenge, not playing mechanics.”
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<br /><span style="font-weight:bold;">MUSICAL CHALLENGE</span>
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<br />What follows is a six exercise sequence of studies that develop the brass player’s ability to play extreme dynamic contrasts over a wide range. To create and maintain development, each exercise must be played in a progressive order. Skipping exercises or moving through them too rapidly will not allow enough time for development. These studies work equally well for individuals or with groups of instruments.
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<br /><span style="font-weight:bold;">ROCCOISM</span>
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<br />“Louder dynamics encourage tone production. Softer dynamics discourage tone production.”
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<br />EXERCISE ONE, DIMINUENDO, LONG TONES </span>
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<br />1. Six beat long-tones with fermata, single breath. (f >pp, fermata)
<br />(mm. quarter = 52-60)
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<br />2. First develop on mid-range notes then expand lower and higher. The fermata should be held for four beats and played as softly as possible and without interruption.
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<br />3. Exercise One should be practiced daily until the range has expanded to a minimum of two octaves, before moving to the next exercise. The estimated time of development is 4-6 weeks. The brass player will notice that their dynamic range has expanded on both ends of their dynamic range. They will also notice improvement in tonal resonance.
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<br />EXERCISE TWO, DIMINUENDO, LEGATO QUARTER NOTES</span>
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<br />1. Practice exercise 1 substituting legato quarter notes for each beat of sustained notes before the fermata. Continue to sustain the fermata very softly for four beats. Expand the exercise to 2 ½ - 3 octaves.
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<br />EXERCISE THREE, DIMINUENDO-CRESCENDO, LONG-TONES</span>
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<br />1. Nine beat long-tone with fermata, single breath. (f>pp<f, fermata) (mm. quarter = 92-100)
<br />2. Practice 2 ½ - 3 octaves
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<br />EXERCISE FOUR, DIMINUENDO-CRESCENDO, LEGATO QUARTER NOTES</span>
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<br />1. Practice exercise 3 substituting legato quarter notes for each beat of sustained notes before the fermata. Sustain the fermata as long as possible on a single breath.
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<br />EXERCISE FIVE, SOFT ENTRANCE, LONG-TONES</span>
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<br />1. Six beat long-tone with fermata, single breath (f>pp, fermata)(mm.quarter=60)
<br />2. Brief pause. Start at the same dynamic level (pp).
<br />3. Six beat long-tone with fermata, single breath (pp<f, fermata)
<br />4. Practice three octaves.
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<br />EXERCISE SIX, SOFT ENTRANCE, LEGATO QUARTER NOTES</span>
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<br />Repeat exercise five, replacing the long tone with legato quarter notes
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<br />There are benefits to be derived from developing only one or two of the six exercises in sequence. The entire sequence of exercises should be practiced over a period of about six months. They will require periodic reinforcement.
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<br />ARNOLD JACOBS
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<br />"I sing the notes in my head as I play them. It doesn't matter how my lip feels or how I feel."
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<br />Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com4tag:blogger.com,1999:blog-5301079526041772488.post-24233183860459509722010-02-01T16:17:00.000-08:002010-02-01T16:37:32.943-08:00Mouthpiece Design<span style="font-weight:bold;">ROCCOISMS</span><br /><br />“Play the widest diameter mouthpiece possible.”<br />“A general purpose mouthpiece is a compromise of playing characteristics.”<br /><br />“A mouthpiece can either limit or enhance high or low timber, dynamics, or range, but it cannot produce sound. Only the player is capable of that.”<br /><br />“A brass player should choose a mouthpiece for its playing characteristics, not to mask the weaknesses in their playing.” <br /><span style="font-weight:bold;"><br />THE SEARCH FOR A PERFECT MOUTHPIECE</span><br /><br /><span style="font-weight:bold;">CASE STUDY</span><br /><br />One of my lifelong friends is an excellent professional trumpeter. His playing credentials include performing with every major theater and symphonic orchestra in Chicago. He studied with Jake and drove him to and from his downtown studio for the last ten years of his life. Jake was almost totally blind from glaucoma which was the main reason he retired from the Chicago Symphony.<br /><br />Early in his career, my friend was convinced that the key to his success would be to find the “perfect mouthpiece.” He amassed a collection of thousands before he discovered that there was no perfect mouthpiece. <br /><br />Later after studying with Jake, he learned that the mouthpiece could have some influence on timbre, dynamics and range, but it did not produce sound. Jake made him aware of the fact that the sound could only come from him and the he had the greatest influence on the sound not the mouthpiece.<br /> <br /><span style="font-weight:bold;">THE CRUTCH</span><br /><br />Too many brass players choose a mouthpiece in an attempt to disguise their inadequate range, endurance, or tone. They don’t realize that the mouthpiece and instrument together make a “lie detector” that cannot hide anything.<br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“A musician should develop their playing skills to the limitations of a large mouthpiece rather than using a small mouthpiece to mask the limitations of their skill.”<br /><br /><span style="font-weight:bold;">CASE STUDY</span><br /><br />One of my former graduate students, from Vandercook College of Music, is a fine trumpeter and excellent middle school band director in the Chicago area. He starts his beginning trumpet students on a Bach 1C mouthpiece, the largest mouthpiece in the Bach catalog. He very challenges his students to develop their playing skills to the level of tone production associated with the 1C, rather than the much smaller 7C, which directors commonly use with beginners. He has had great success with this approach for many years.<br /><br />I noticed that some trumpet players attending Vandercook College of Music, were still playing the same 7C mouthpiece they started on as beginners eight or nine years earlier. They still had the tone of a first or second year player. <br /><br />There are four principal elements of mouthpiece design. Each element will have an impact on playing characteristics, timbre, or comfort, which is an important consideration regarding mouthpiece placement. There is no standard system of mouthpiece cataloging among manufacturers. Since each manufacturer has their own numbering and lettering system. The only way to determine the playing characteristics and size of a mouthpiece is by reading the description in their catalog.<br /><br /><span style="font-style:italic;">THE BRASSWIND</span> catalog has an index that attempts to compare the playing characteristics of mouthpieces among several manufacturers. <br /><span style="font-weight:bold;"><br />THE RIM</span><br /><span style="font-weight:bold;"><br />Wide vs. Narrow</span><br /><br />A wide rim allows greater comfort when playing higher frequencies. Increased contact pressure is required to help maintain the shape of the embouchure. With a wide rim, the contact pressure is dispersed over a greater amount of lip surface. Trumpet and cornet mouthpieces have a wider rim relative to cup diameter than horn and low brass mouthpieces. <br /><br />A wide rim will contact a greater amount of tissue, so it is more difficult to maneuver over a broad range. It is used primarily for specialized playing in the upper register and within a limited range.<br /><br />A narrow rim, where contact pressure requirements are reduced, is more desirable for low register or low brass instruments. It allows easier maneuvering between registers.<br /><br />Most trumpeters compromise by playing a medium wide rim mouthpiece. Horn, and low brass players tend to play more narrow rim mouthpieces.<br /><br /><span style="font-weight:bold;">Flat vs. Rounded</span><br /><br />The contour of the rim can vary from almost flat to well rounded. A flat rim will maintain contact of lip surface securely but it may be uncomfortable if a brass player has braces or irregular teeth. It will also reduce flexibility making it more difficult to maneuver between registers.<br /><br />A more rounded rim will allow greater flexibility and will be more comfortable for playing in the upper register.<br /><br />Most trumpet players use a mouthpiece with a well rounded, medium wide rim. Most horn, and low brass players play a relatively flat and narrow rim. <br /><span style="font-weight:bold;"><br />Inner Transition, Well Rounded vs. Sharp</span><br /><br />The transition from rim to cup can influence articulation and comfort. A sharp transition will be easier to play marcato attacks but smooth slurs will be more difficult. It may also be uncomfortable for a player with braces or irregular teeth.<br />A more rounded transition will be more comfortable playing in the upper register and it will be easier to play smooth slurs. However, sharp attacks are more difficult.<br /><br />Most trumpet players play a mouthpiece with a rounded inner edge while horn and low brass mouthpieces tend to have a sharp inner edge.<br /><br />Some manufactures provide changeable rims that can be screwed onto the cup.<br /><br /><span style="font-weight:bold;">THE CUP</span><br /><span style="font-weight:bold;"><br />DIAMETER, Wide vs. Narrow</span><br /><br />Since the cup diameter determines the length of the embouchure, the largest size will have the greatest potential for tone production. A smaller diameter may make it easier to play high frequencies but there will be diminished resonance. Most brass players are not willing to sacrifice tone to make high notes easier.<br /><br />A wide diameter mouthpiece requires a strong embouchure. Motivated young players, who start playing with small diameter mouthpieces, should be encouraged to gradually develop their embouchure strength for larger mouthpieces. They should transition to a larger mouthpiece every two years until they are eventually playing a professional size mouthpiece. For trumpet, that is a Bach 1½ C or 1C. I recently encouraged one of my motivated 2nd year high school trumpet players to transition from a 5C to 3C. I expect her to be playing at least a 1½ C by the time she enters college.<br /><br />The transition to a larger mouthpiece must be gradual. I tell my students to gradually increase their playing time on the larger mouthpiece until they are comfortable enough to play it all the time.<br /><br /><span style="font-weight:bold;">DEPTH, Shallow vs. Deep</span><br /><br />The depth of the cup determines how much the lower partials in the harmonic series are emphasized in the tone. A deep cup will emphasize the lower partials and will produce a “darker” timbre. Conversely, a shallow cup will emphasize the upper partials and produce a “brighter” timbre.<br /><br />It will be more difficult to play a shallow cup mouthpiece at very loud dynamics. The great Maynard Ferguson specialized in playing extremely high and loud on the trumpet. Interestingly, his mouthpiece has an exaggerated cup depth. It is a “V” or funnel shape like a horn mouthpiece but with a trumpet rim. Most trumpet players play a medium deep Bach “C” cup mouthpiece.<br /><br />Since the horn is essentially a tuba playing in the upper register most of the time, the mouthpiece has evolved with an exaggerated funnel cup to produce a dark timbre. If the horn mouthpiece is too shallow, the instrument will sound more like a flugelhorn or cornet.<br /><br />Most brass players playing symphonic music play deep cup mouthpieces. Jazz players tend to play more shallow mouthpieces for the brighter timbre and lighter sound more closely associated with their smaller bore instruments. The shallow cup mouthpiece also allows easier flexibility for complex Jazz solos.<br /><br />Some low horn, euphonium, tuba, or bass trombonists like to use a shallow cup mouthpiece when playing technical passages in the extreme low register of large bore instruments. The smaller cup helps control the sound.<br /><br /><span style="font-weight:bold;">ADJUSTABLE CUP MOUTHPIECE</span><br /><br />Jake frequently played an adjustable cup mouthpiece. A few manufacturers still make them but they are not widely used. <br /><br /><span style="font-weight:bold;">THE THROAT</span><br /><br />The throat is the opening at the bottom of the cup leading to the backbore. It functions like a valve regulating air flow through the mouthpiece. There are various degrees of open.<br /><br />The larger the throat opening, the less resistant the mouthpiece is to air flow and there is greater potential for playing very loudly. However, soft playing is more difficult and the mouthpiece will tend to fatigue the player if they don’t have a strong embouchure.<br /><br />Conversely, a smaller throat opening will be more resistant to air flow. It will be easier to play very softly but difficult to play loud. The general purpose mouthpiece will have a compromise opening that allows the playing of loud and soft dynamics comfortably.<br /><br />Once the throat has been enlarged, the alteration can’t be reversed. I know several trumpet players who experimented with opening the throat of their mouthpieces. In many instances, the mouthpieces eventually became expensive candle holders.<br /><span style="font-weight:bold;"><br />THE BACKBORE, Open vs. Closed</span><br /><br />The backbore is the shape of the tube transitioning from the bottom of the cup to the end of the stem. A closed backbore will be a more cylindrical tube and an open backbore will be more conical.<br /><br />A cylindrical backbore will produce a brighter tone with less amplification. The conical backbore will provide greater amplification and produce a darker tone. It may be more fatiguing to play if the player has a weak embouchure. <br /><br /><span style="font-weight:bold;">SCHMIDT BACKBORE (trumpet only)</span><br /><br />The Schmidt backbore is a compromise between the open and closed backbore. It is cylindrical for only a short distance at the bottom of the cup. It becomes conical from there to the end of the stem.<br /><br /><span style="font-weight:bold;">MASS vs. TONE</span><br /><br />Some brass players prefer to play massive mouthpieces machined from very large blanks that leave much of the outer material intact. They are very heavy and tend to help produce a darker, heavier, and more resonant sound, especially in the low register. The effect may be more psychological than acoustic. <br /><br />Mouthpieces can also be machined from lighter materials such as wood or synthetics that will help produce a lighter or less resonant sound.<br /><br /><span style="font-weight:bold;">GOLD vs. SILVER</span><br /><br />Some players are allergic to one metal or the other. I play both gold and silver mouthpieces and have not noticed that the plating had any impact on the sound. <br /><br /><span style="font-weight:bold;">MONET - MOUTHPIECE AND LEADPIPE COMBINATION</span><br /><br />For acoustical reasons, Monet and some other trumpet manufacturers solder the mouthpiece and leadpipe together. I don’t know if there is real physics involved or if the design is more psychological. The downside is the fact that the player must always use the same mouthpiece with the same trumpet. Interchangeable leadpipes are in common use on smaller trumpets.<br /><br />For psychological reasons, I think of the tuba as an extension of my mouthpiece.<br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“The instrument is an extended mouthpiece with valves or a slide.”<br /><br />“Play the mouthpiece, not the instrument.”<br /><br /><span style="font-weight:bold;">IN SUMMARY</span><br /><br />Most brass players do not use a variety of mouthpieces for general playing. They find a mouthpiece – instrument combination that produces their desired sound. The primary reason for choosing a particular mouthpiece must always be for its characteristic sound associated with an instrument. The choice should never be to disguise weaknesses. That will never happen!<br /><br />A small mouthpiece has limiting factors. It is best if the brass player develops their skills to perform with the largest mouthpiece possible. <br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“You can make a large mouthpiece play with the characteristics of a small one. However, you cannot make a small mouthpiece play with the characteristic of a large one.”Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com8tag:blogger.com,1999:blog-5301079526041772488.post-6977089049837261992010-01-29T17:08:00.000-08:002010-01-30T16:25:15.669-08:00The Audition<span style="font-weight:bold;">ADOLPH HERSETH</span><br /><br />“A trumpeter’s life is risky business. No greatness can be achieved if the player is paralyzed by fear.”<br /><br />Auditions are the most important performance opportunities of any musician’s career. Yet, most spend too little time in advance preparation. As a result, the few opportunities that come along are wasted because they are practice sessions rather than performances.<br /><span style="font-weight:bold;"><br />THE WINDOW OF OPPORTUNITY</span><br /><br />Most brass players, who aspire to a career as a professional musician, have only a five to ten year period to win their first job. There are many more gigs for horn players than for the other brasses. A bass trombone, euphonium, or tuba player might have as few as ten opportunities in an entire career. However, the opportunity to prepare for auditions is unlimited.<br /><br />Audition preparation must begin long before a musician first hears about an opportunity. A friend remarked, “My college trumpet teacher showed me how to play but he didn’t show me how to win an audition. That’s why I never had a professional career.” Winning a professional audition starts with developing your musical and technical skills, but there is much more expertise must be acquired.<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“A career in music is a difficult challenge for those who have not developed their skills. For those who have, it is a wonderful life.”<br /><br />“Although hundreds may audition for the job you want, you are only competing with the small number of players who are capable of winning.”<br /><br /><span style="font-weight:bold;">THE REPERTOIRE</span><br /><br />When I first began playing professional auditions, there were no repertoire lists. The audition system was not standardized as it is today. You didn’t know what you would be asked to play until you were in the audition room. Yes, there is a general list of repertoire that is always on every audition, but sometimes there were unwelcome surprises.<br /><br />Some audition opportunities were not widely publicized or came up suddenly at the last minute. Musicians were expected to be prepared at all times. It was not uncommon for a conductor or orchestra to call Jake, or other prominent teachers personally, and ask to hear one of their students.<br /><br />Today, there are no surprises other than the acoustics of the audition room. Audition procedures are more or less standard throughout the United States. They include repertoire lists that allow enough time for the candidate to prepare. However, the audition system is not without flaws.<br /><br /><span style="font-weight:bold;">THE SYSTEM</span><br /><br />The standard system in the United States evolved over the last forty years. It is primarily the result of union musicians who wanted to reduce the unfair practices of conductors who hired players for political, rather than musical reasons. The system has raised performance standards everywhere by gradually eliminating most incompetent players and providing a real opportunity for everyone. <br /><br />In Europe, the entire orchestra votes for the final round of auditions. The conductor is considered to be a member of the orchestra and has a single vote.<br /><br />There are many instances where highly accomplished musicians were unable to advance past the first round. For principal positions, major orchestras routinely audition and reject candidates for two or more years. They eventually invite well known players for the final round. Many of the finest players avoid playing preliminary auditions because they understand that the system is flawed.<br /><br />A former principal oboist of the Chicago Symphony was rejected twice in preliminary auditions. Finally, the orchestra invited him to the final round. He was awarded the job. <br /><br />Preliminary auditions are heard by a diverse group of the orchestra musicians. Audition committee duty, is usually not voluntary. And it is not something most orchestra members look forward to doing. Like jury duty, when your name is called, you reluctantly participate. I have served on several audition committees. <br /><br />Recently some orchestras, including the Boston symphony, experimented with having candidates record their audition rather than have a committee hear it live. Thankfully, that practice never became widespread or standard.<br /><br />A typical committee hearing a brass audition might be comprised of 12-15 orchestra members. Maybe only 2 or 3 members are brass players. In Europe, the committee might be the entire wind sections of a double orchestra! I once played for 50 members of a double opera orchestra in Germany.<br /><br />Most of the committee members know very little about your instrument or even the specific repertoire for your instrument. However, they are all very fine musicians and will be able to adjudicate based on the music they hear and see in front of them. They will have different opinions about tone color and stylistic interpretation but they all see the same scores. Understanding that common element is very important.<br /><br />Too often, candidates think they are performing for a cadre of people who play the same instrument or even within the same family. Doing so, can be a major strategic error. If you play an instrument that has only one in the orchestra, such as bass trombone or tuba, there probably won’t be one on the committee. Orchestras rarely ask the retiring player to participate in the selection of their replacement.<br /><span style="font-weight:bold;"><br />ROCCOISM</span><br /><br />“It’s the music that will unify an audition committee, not your instrument.” <br /><br /><span style="font-weight:bold;">THE BELL CURVE</span><br /><br />There is no safety in the middle of the group of players at any audition. You must be able to separate yourself from the others in a dramatic way. It is risky business but you must have the confidence and courage to perform at such a level that you are noticed and remembered by the committee. You are an anonymous person behind a screen, so you must deliver a powerful musical statement introducing who you are and what you can do. <br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“The audition committee is looking for reasons to eliminate you as a candidate. You must be proactive by immediately demonstrating you are the person who should be hired.” <br /><span style="font-weight:bold;"><br />STRENGTH vs. WEAKNESS</span><br /><span style="font-weight:bold;"><br />ROCCOISMS</span><br /><br />“There is no place to hide in the audition room.”<br /><br />“If there is weakness in your playing, it will be exposed and amplified in the audition room! Your weakness will dominate your strengths. Weakness will cause you to be fearful because you have an expectation of failure and your expectations will always be realized.”<br /><span style="font-weight:bold;"><br />PERFORMANCE ANXIETY</span><br /><span style="font-weight:bold;"><br />ADOLPH HERSETH</span><br /><br />“If a trumpeter is fearful when they play, they have no business playing the trumpet.”<br /><br />Too often, I hear about brass players who try to control their audition anxiety with drugs or some other ineffective action. We have absolutely no conscious control over these emotions because they are subconscious reactions motivated by the possibility or expectation of failure! <br /><br />However, there are two things we can do regarding fear.<br /><br />1. Function in spite of it.<br /><br />2. Eliminate the cause of it.<br /><br />I read about the terrible anxiety the great tenor, Luciano Pavarotti suffered before every performance. Yet, he was able to transcend his anxiety when he was on the stage. He was anxious and fearful before the performance but not during it. It is important to understand why he suffered so much and how he was able to function anyway. <br /> <span style="font-weight:bold;"><br />LUCIANO PAVAROTTI</span><br /><br />“It is only when I am completely committed to the music that I can move my audience.”<br /> <span style="font-weight:bold;"><br />EXPECTATION OF FAILURE vs. EXPECTATION OF SUCCESS<span style="font-weight:bold;"></span></span><br /><br />The only reason fear emerges from our subconscious is that we have an expectation of physical or emotional harm. Certainly, embarrassing ourselves with an instrument in our hands, qualifies as being an emotionally harmful experience. For a brass player, it’s not pleasant physically either. Brass players receive a double dose of negative conditioning resulting from failure.<br /><span style="font-weight:bold;"><br />ROCCOISM</span><br /><br />“We cannot consciously control fear but we can control what is motivating it”<br /><br /><span style="font-weight:bold;">ANALOGY</span><br /><br />There are two ways to alleviate our fear of death if we are standing at the edge of a 1000 foot cliff.<br /><br />1. Step back from the cliff.<br /><br />2. Imagine that you have stepped back from the cliff. <br /><span style="font-weight:bold;"><br />CREATIVE VISUALIZATION</span><br /><br />The subconscious mind responds in the same manner to fantasy or reality. Fantasy is how great actors become the character they are portraying. I frequently ask my students to pretend they are some other musical artist. When I ask my high school orchestra to pretend they are professionals, they sound different immediately. Musically, they don’t sound like a very inexperienced group of young string and wind players. <br /><br />Jake frequently asked his students to compete with him or some other great musician. I remember he would say, “Imagine how the music would sound if Bud Herseth played it on the trumpet.” <br /><br />The primary cause of performance anxiety is the brass player’s expectation of failure. There is an involuntary reaction in the subconscious mind that protects us from experiencing physical or emotional harm. This reaction manifests itself by creating fear and paralysis.<br /><br /><span style="font-weight:bold;">MAURICE ANDRE</span><br /><br />“I expect the notes to be there.”<br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“A musician can only develop an expectation of success by creating a history of success. <br /><br />Successful performance can be accomplished only if the player has a methodology that works for them.”<br /><br />Many brass players do not know how to create success on a consistent basis. The methodologies existing in the educational field are contradictory and ineffective. When lecturing at a music school, I always ask the brass players the following question. “How many of you have ever wanted to throw your instrument at a brick wall?” The response is universally affirmative no matter where I ask.<br /><br /><span style="font-weight:bold;">SING, BUZZ, PLAY</span><br /><br />This formula is discussed elsewhere in this website.<br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“Without an expectation of success, failure is inevitable.” <br /><span style="font-weight:bold;"><br />THE AUDITION ROOM</span><br /><br />Since a candidate has no control of where their audition will be held, they must eliminate the elements of acoustics, lighting, and temperature from consideration. They must not allow themselves to be distracted from the music by any external condition.<br /><span style="font-weight:bold;"><br />CASE STUDY</span><br /><br />The great British euphonium player, Robert Childs once told me how he prepared for the Brass Band National Championships in England. He was principal euphonium for the world renown Grimethorpe Colliery Band. From experience, he knew the performance hall would be very warm, his mouth would be dry, and his heart would be pounding in his chest.<br /><br />To create these conditions, he dressed in layers of winter clothing, turned the heat up in his home, and ran up and down stairs to elevate his heart beat. Then, he played the important solos from memory. The audition environment can be intimidating and stressful no matter the physical conditions. <br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“The audition room is not a place to practice. It’s a performance hall.”<br /><br />“If you expect to win, your professional audition must occur as the final event in a series of 25-30 preparatory auditions.”<br /><br /><span style="font-weight:bold;">THE TRUMPET PLAYER</span><br /><br />A friend was auditioning for the fourth trumpet chair in a major American orchestra. He was a well known and highly respected free lance musician in Chicago. He also had several years experience playing with a German opera house orchestra. He wanted the gig more than the other candidates and was willing to do what was necessary to get it. <br /><br />Here is what he did to prepare for the most important audition of his career:<br /><br />1. He performed a solo every Sunday in different church around Chicago. He called music directors and offered to play gratis. There was no problem finding places to perform.<br /><br />2. Since he was an active free lance trumpeter, he worked for all of Chicago’s major orchestras and at one of the professional musical theaters downtown. At the intermission of rehearsals and performances, he asked a few of the musicians to hear his audition. He played it dozens of times.<br /><br />3. He also teamed up with another fine trumpeter who was also auditioning for the same job. They regularly performed and critiqued each other.<br /><br />4. Choosing different locations, he played the repertoire list for a tape recorder. <br /><br />He and his partner both made the finals which included another fine trumpeter. On the day before the last round of auditions, he called and asked if he could play the repertoire list for me. Hearing him was an experience that I’ll always remember. <br /><br />When he took his instrument out of the case, I noticed that his hands were trembling. I thought his performance might not go well. I was wrong! At the conclusion I said, “If you play like that tomorrow, you will win the audition.” He nodded his approval. The next day I received a call announcing that he won the job.<br /><br />The two trumpet players who were not chosen for the job that day eventually became principals in other major American orchestras.<br /><br /><span style="font-weight:bold;">THE REPERTOIRE</span><br /><span style="font-weight:bold;"><br />ROCCOISMS</span><br /><br />“You must ask yourself these important questions about the audition repertoire. Why is this music on the list? What are they looking for musically? Always give the committee what the music is communicating to you! ”<br /><br />“You must interpret the music precisely as it is notated. However, every element must be distinguished beyond what you expect will be heard from your competition.”<br /><br />“Most candidates at any professional audition will be able to play the correct notes. You must have the courage to elevate your performance to the limits of your ability.”<br /><br />“Your interpretation must be appropriate for the part. A principal part must be interpreted differently than playing a section part.” <br /><br />“No principal player wants to hire competition for their section.” <br /><br />“You cannot be an anonymous musician behind the screen.”<br /><br />“Most musicians realize music in shades of gray and black. Great musicians perform using all the bright colors of a rainbow.” <br /><br />From my experience on professional audition committees, I recall that most candidates don’t do enough to distinguish themselves musically. Although they are politely allowed to play, they are usually eliminated in the minds of the committee members within the first few seconds. I could tell by their body language that most fellow committee members no longer listened after 30 seconds because their evaluation was over.<br /><br />In time, a musician came along who commanded our attention immediately. The difference musically was striking. Because their musical skills were more imaginative, they had the confidence to do more technically as well.<br /><br />The audition committee will judge a brass player on their tone, rhythmic accuracy, intonation, and most importantly, musical interpretation. Because the committee will be looking at the same scores as you, the interpretation must follow the notation precisely. <br /><br />Avoid altering the score in any way. There may be accepted alterations that every trumpeter in the world knows, but don’t count on every member of the committee knowing them. Very few orchestras provide copies of the scores to candidates. A candidate should be prepared if there are various editions of the music. Stravinsky published several editions of his ballet scores to maintain royalties. <br /><br /><span style="font-weight:bold;">CASE STUDIES</span><br /><br />There is a well known story about an audition, performed for a major American orchestra, by one of the world’s finest bass trombonist. Although he is quite well known, he was not automatically placed in the final round. He knew he needed to distinguish himself from the other players in the preliminary rounds by demonstrating something extraordinary.<br /><br />All candidates were asked to play a simple Bach choral. It had a mid-range tessitura and a compass of about two octaves. In a well planned but very risky maneuver, he decided to expand the range to four octaves. He is a great player and pulled it off beautifully. As a result, the committee could not ignore him and was eager to listen further. He was won the job.<br /><br />A tuba player recently won a job with a different major American orchestra. Although he is a somewhat older player, it was the first successful professional audition of his career. After years of failed attempts, he knew his “window of opportunity” was closing fast and that he needed to take some risk.<br /><br />In the preliminary rounds, the candidates were asked to play the first movement cadenza from the Vaughan Williams Tuba Concerto. The range is slightly more than three octaves. He decided to expand it to four octaves, up to double high C. He played it brilliantly. The highly impressed committee could not ignore the effort.<br /><br />In a professional audition, no one should ever “show boat” specific orchestral or solo repertoire. However in cadenzas, it’s commendable if what you do is musical and you can pull it off. Sometimes, the orchestral parts alone don’t demonstrate the limits of your capabilities. You must find a way to communicate all your skills in the very limited time available.<br /><br /><span style="font-weight:bold;">ANONYMOUS</span><br /><br />“Persistence is omnipotent”<br /><br />One of my former students, now a colleague, is a well known artist and teacher of the horn. He played fifty professional orchestral auditions in his career but he won jobs only five times. On forty-five occasions, he walked away without a contract. However, he did acquire very valuable experience.<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“Experience is your most influential teacher.”<br /><br />“Failure is an opportunity to learn.”<br /><br />“We must learn to accept failure as an inevitable component of the process of creating success.” <br /><br />“If we cannot tolerate imperfection, the resulting paralysis will never allow us to achieve greatness.”<br /><br />“With each audition, a musician’s ultimate test is the level of their need to persevere.”<br /><br />With continued experience, the horn player learned more about his personal strengths and weaknesses. He also gained valuable insights into what is required to win a job. However, he would not have acquired that knowledge and experience if he had abandoned his efforts. He eventually reached his ultimate goal of playing with a major American orchestra. He would not allow the emotional pain of failure to deter him. <br /><br /><span style="font-weight:bold;">THE MIND GAME</span><br /><span style="font-weight:bold;"><br />CASE STUDY</span><br /><br />While a member of the Honolulu Symphony, I scheduled an audition for the Seattle Symphony. I had to leave for Seattle immediately after returning to Honolulu from a five day tour of the outer islands. There was no time to go home from the airport. I waited five hours for an overnight flight to San Francisco and a connecting flight to Seattle. It took about eighteen hours to arrive at the concert hall for my audition. I was a little late but the committee was willing to wait for me.<br /><br />In the warm-up room, I recall that I was so exhausted I could barely play. I began to experience a feeling of panic because I didn’t think I could function on the stage. I knew the committee was waiting only for me because all other candidates had been heard.<br /><br />Finally, they called me to the stage. I refer to this time as “The Walk”. It’s when you leave the warm-up room and walk to the audition room. The rooms are always far apart with a long corridor between them. <br /><br />As I walked the corridor, I began to remind myself that “nothing mattered but the music”. As I repeated that phrase mentally, I began to notice that my anxiety diminished and my confidence began to build. As I proceeded closer to the stage, the phrase became more intense like the long crescendo of “Bolero”.<br /><br />When I reached the stage, I was completely focused and confident. My despondent state of mind had been dramatically transformed. <br /> <br />After playing the first excerpt, I knew I could win the job. I remember having only a peripheral awareness of where I was and what was going on around me. I starred holes through the music because nothing else mattered. I played well enough to be awarded the job. <br /><br /><span style="font-weight:bold;">IN SUMMARY</span><br /><br />The first step in any musician’s audition preparation must be the development of their playing skills far beyond the requirements of the repertoire. A player’s comfort zone must exist well within the limits of their ability, not at the limits of their ability. <br /><br />The brass player’s understanding of the repertoire must exceed the particular part they are preparing. They must understand the interpretative elements of entire score. I always prepared as if I were the conductor as well as a member of the orchestra. I frequently asked myself, “What is the conductor looking for at this moment?”<br /><br />A horn, trumpet, or trombone player must understand the musical difference between playing a principal part and within a section. If you are auditioning for second trombone but they ask you to play first trombone solos such as Bolero, you must play like a principal. If they ask for a second trombone solo, such as the Tuba Mirum from the Mozart Requiem, you must perform like a principal player.<br /><br />However, if you are playing the second horn part from the second movement of the Tchaikovsky 4th Symphony, you are accompanying and supporting the principal part. You must interpret the music appropriately.<br /><br />There aren’t enough opportunities to afford the luxury of practicing for the audition in the audition. We must have the courage and determination to play as many “mock” auditions as possible. Play these auditions for anyone. They don’t have to be players of your instrument or even brass players.<br /><br />Most importantly, the musician must persevere though the inevitable failures. I only know of a couple brass players who won every professional audition they played. Occasionally, a committee may give the candidate useful feedback about the strengths and weaknesses of their audition. However, too much diverse feedback can cause the player to become somewhat paralyzed. Ultimately, the player must be the most important judge of their performance. <br /><br />Audition committees will vary but you will always be the constant. You cannot precisely conclude what a committee is looking for because often they don’t know themselves.<br /><br /><span style="font-weight:bold;">CASE STUDY</span><br /><br />For two years, a major orchestra listened to hundreds of trombonist to fill a vacancy for the second chair. Although many highly qualified players performed in the preliminaries, the committee rejected all of them.<br /><br />A member of the orchestra’s trombone section realized that the committee did not know how to properly evaluate the candidates. He decided to educate them by personally demonstrating what they should hear from a qualified tenor trombonist. <br /><br />Shortly afterward, the committee was finally able to make a decision. Fortunately, they chose one of the finest players in the world who was previously rejected in the preliminary auditions. <br /><br />It is important to have some prior knowledge of the musical style of the orchestra and its conductor. But the brass player must have the conviction to rely mostly on their own musical instincts.<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“The audition committee does not have a universal opinion of what the music or your instrument should sound like. You must guide them with a convincing performance.”<br /><br />“Listen to what the music is communicating to you. It will be your guide to success.”Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com6tag:blogger.com,1999:blog-5301079526041772488.post-80279563224298552892010-01-23T17:19:00.000-08:002010-01-23T21:57:04.210-08:00Articulation<strong>ROCCOISMS</strong><br /><br />“The tongue serves no purpose in tone production other than to interfere. We must minimize its interference with precise diction.”<br /><br />“Articulation must be thought of as way to manipulate sound, not body parts.”<br /><br />“The first procedure to establish precise articulation on a wind instrument is to vocalize.”<br /><br /><strong>ADOLPH HERSETH</strong><br /><br />“Tonguing is 5% consonant and 95% vowel.”<br /><br />When I first began teaching Jake’s concepts of “Song and Wind” at Vandercook College in 1979, I added “Diction” as a corollary to “Wind”. I did so because the tongue, both front and rear, can be a major source of interference of tone production.<br /><br />I once had a teacher say to me, “If I could cut the tongue out of your mouth, you would be a good tuba player.” I wasted many years of my life trying to determine what was wrong with my tongue and what I needed to do to fix it. <br /><br />Eventually, I determined that my malfunctioning tongue was only a symptom of my state of mind. The more I focused on trying to correct my tongue, the less I focused on music. The inevitable result was an increasing paralysis of my tongue and all the other mechanics necessary to play. As I drifted further away from my awareness of music, the mechanics of playing weakened until I was completely paralyzed. <br /><br /><strong>ADOLPH HERSETH</strong><br /><br />“Paralysis by Analysis.” <br /><br />In everyday life, the tongue has three functions; to talk, to chew, and to taste. Accept for an occasional mishap when we bite our tongue, it functions beautifully in response to our everyday needs. The tongue is motivated by conscious need but it is controlled by the subconscious brain. <br /><br />If we had to consciously think about the motion of tongue, vocal chords, and air in order to talk, we would be speechless. We normally pay no attention to the tongue except when there is something uncomfortable like a canker sore.<br /><br /><strong>ROCCOISMS</strong><br /><br />“We don’t consciously think about our tongue when producing the sound of words. We should not be thinking about it when articulating musical sounds.”<br /><br />“No one wastes their time trying to control all the mechanics required to sustain life. If that was necessary, we wouldn’t be able to do anything else.” <br /><br />A fourth use for the tongue is to articulate sound with a wind instrument. However, it is not necessary to learn a fourth skill because we simply transfer the skill that has already been established for language.<br /><br />Just as they don’t think about fingering, no accomplished wind player consciously thinks about syllables when they play. Experienced string players don’t consciously think bowing direction when playing specific articulations. <br /><br />If I ask a violinist about the specific bowing for a passage, they usually must move an imaginary bow to tell me how it would be done. The needs of the music dictate bowing not the other way around.<br /><br />In the beginning, there must be conscious awareness of these motivating elements until the playing skills are established subconsciously and associated with sound. Ultimately, it’s the awareness of musical sound that motivates the mechanical skill. <br /><br />However, if sound awareness is not stressed as a motivating factor, the player will attempt to substitute an awareness of mechanics and the sense of feel. This alternate approach has never worked for me or any of my students. <br /><br /><strong>ADOLPH HERSETH</strong><br /><br />“Play by sound, not mechanics.”<br /><br /><strong>ROCCOISMS</strong><br /><br />“Feel and Fail are four letter words to a brass player.”<br /><br />“Your instrument is already full of air, but it has no sound. Fill it with the sounds you want your audience to hear.”<br /><br />What follows is only a brief dissertation of methods I have used to motivate proper articulation among students of all levels. However, the procedures use the precise pronunciation of syllables only as a starting point in the development of good articulation skills. The ultimate goal must be the player’s awareness of the sound of precise articulation, rather than syllables, as the primary motivating factor.<br /><br /><strong>VOCALIZATION (DICTION)</strong><br /><br />The syllables used for the basic marcato style of attack consist of a consonant and an open vowel (AH, OH, OU). Any of the open vowels are acceptable, but AH is the most commonly used because it’s the most open of three syllables. When we say the syllables OU, OH, AH, the tongue is forced further down in the mouth with each syllable. <br /><br />Since the consonant represents the point of closure where no tone production is possible, it should receive little emphasis in the diction. Conversely, the vowel creates an open inner oral cavity which provides an opportunity for air flow to the embouchure. When I’m working with inexperienced students, I illustrate the syllable with a very small consonant (t) and a large vowel (tAH). Softer sounding (less marcato) consonants are (nAH) (dAH) (rAH) (lAH).<br /><br />I never encourage the use of a closed vowel, such as EE. Some trumpet methods encourage the use of EE in the upper register. This illogical methodology purposes that a smaller air stream will vibrate a shorter embouchure. And a shorter embouchure (length) will make it easier to play high notes. I disagree! Encouraging resonant tone production will make it easier to play in the upper register! <br /><br /><strong>ROCCOISM</strong><br /><br />“We should never sacrifice tone quality for any technical reason.”<br /><br /><strong>H. E. NUTT </strong>(founder Vandercook College of Music)<br /><br />“The first teaching point is to encourage tone production.”<br /><br /><strong>MARCATO ATTACK</strong><br /><br />I never discuss the motion of tongue and air with any wind player. However in the developmental stage, I do encourage the precise vocalization of syllables. Proper diction will motivate the correct motion air and tongue since this skill has already been established in language. <br /><br />To encourage diction, I ask young brass players to carry on a one word conversation, using the word tAH. I explain that I want to hear tAH while they play as though they were speaking with their voice. <br /><br />For the basic marcato attack, I use the first studies in Arban, Schlossberg, and Kopprasch with more advanced players who have developed good tone production and range. Diction should also be introduced early to an elementary level player in the beginning stages of developing mechanical skills. <br /><br />To reinforce the syllable, I ask brass players to vocally sing their music using tAH. Next, they mentally sing the syllable while playing. I add further reinforcement by singing the syllable with them as they play. <br /><br />When working with a mixed group of wind players, I always use an articulation syllable when singing to them. Diction must be reinforced repeatedly until the appropriate sound has been established. With less experienced brass players, it is necessary to reinforced diction over an extended period. <br /> <br /><strong>ROCCOISMS</strong><br /><br />“Ultimately, it is the brass player’s powerful awareness of the sound that motivates diction, fingering, and every other mechanical element of playing.”<br /><br />“The most powerful awareness of sound is achieved when mentally singing.”<br /><br />“When you play the mouthpiece outside the instrument, you are mentally singing. If you play the mouthpiece in the same manner when it’s placed in the leadpipe, you will maintain the singing.”<br /><br />“Play the mouthpiece, not the instrument.”<br /><br />“The instrument is just a long mouthpiece with valves or a slide.”<br /><br />“I gave up tuba playing long ago. Now, I play an eighteen foot mouthpiece with valves.”<br /><br />“The mouthpiece has become my instrument so I play little attention to the extra tubing on the end of it.”<br /><br />"Since the instrument has no intelligence or music of its own, it honestly reflects the intellect and music I send to it through the mouthpiece." <br /><br /><strong>ARNOLD JACOBS</strong><br /><br />“There are two instruments. One is in your hands and one in your head. The instrument in your hands is a mirror reflecting the one in your head.”<br /><br />Jake once remarked to me, “You have two different mouthpiece techniques. You must learn to play the mouthpiece the same way when it’s in the tuba.” <br /><br />I was a very successful mouthpiece player when it was not in the instrument. There were absolutely no mechanical problems. However, when I placed it the leadpipe of the horn, immediately all sorts of mechanical problems paralyzed me. I could actually feel the paralysis begin as I moved the mouthpiece closer to the leadpipe. I could also feel the paralysis diminish as I moved the mouthpiece further away. Later, I understood that the instrument was powerfully influencing my state of mind in a negative way. <br /><br /><strong>ROCCOISM</strong><br /><br />“If we don’t influence our instrument with a powerful awareness of music, the instrument will influence us in a manner that destroys our ability to function.”<br /><br />“We waste too much time and energy trying to master playing our instrument. We must master the music before we can become masters of the instrument.”<br /><br />“If you don’t master the music, you will become the slave of your instrument.”<br /><br /><strong>ARTUR SCHNABEL</strong><br /><br />“I never sit at the piano until I have first learned to play the music in my mind.”<br /><br /><strong>NICOLO PAGANINI</strong><br /><br />The great violinist was once asked, “Maestro, you play so beautifully but why don’t I ever hear you practice?” His insightful response was, “Just because you don’t hear a violin does not mean I’m not practicing.” <br /><br />Jake shared a story about a situation he experienced as a young man when he was hospitalized for an extended time. A tuba mouthpiece was brought to his hospital room. This gave him a lot of time to practice the mouthpiece alone. He remarked that his playing was much improved after the hospitalization.<br /><br />The highly accomplished French trumpeter Maurice Andre, was an officer in the French army. There was a period of several months when he did not have access to a trumpet. However, he did have a mouthpiece that he could play. Later, he remarked, “I discovered that I was a much better trumpet player when I finally had an opportunity to play one.”<br /><br /><strong>ADOLPH HERSETH</strong><br /><br />“Practice entire sessions on the mouthpiece alone to avoid having problems creep into your playing.”<br /><br />“Sound is the criterion for how you do this and that.”<br /><br /><strong>H. A. VANDERCOOK</strong><br /><br />“If you can sing (buzz) it, you can play it.”<br /><br /><strong>PURE (LIP) SLUR</strong><br /><br />All forms of articulation must be vocalized before executing with the mouthpiece or instrument. To encourage tone production, Initial notes should be played in the mid-range and at a louder dynamic level, such as poco forte. <br /><br />For the initial attack, the consonant is maintained but for subsequent notes only the vowel is retained (tAH-AH-AH-AH etc.). For easier execution, slow descending slurs using small intervals should be taught first.<br /><br />Since the sound of slurred notes is sustained, I always use long tones to create an awareness of how slurred notes should also be a continuous sound. Then, we transfer the same sound to slurred notes. <br /><br />Slow ascending slurs, using small intervals, should encouraged imitating the sound of the descending slur. I prefer to use the same notes, but in reverse, to minimize the distraction of playing unfamiliar notes. I never discuss air flow or changes of embouchure. Gradually the interval and velocity between slurred notes should be increased. <br /><br />Brass players who do not follow a methodical development of slurs, become distracted by their low expectation of success. The result will be failure when playing ascending slurs over a wider interval. <br /><br />I always remind my students that they do not have to be concerned the mechanics necessary to slur notes. However, they must be able to commit to mentally singing and buzzing the notes into the instrument. <br /><br />If the brass player is unable to make a commitment to mentally singing, it is because their awareness is not powerful enough to transcend the distractions of the feel. The Sing, Buzz, Play (SBP) formula will always elevate their musical awareness to a point where they can maintain their concentration.<br /><br /><strong>ROCCOISMS</strong><br /><br />“Don’t be concerned about the mechanics necessary to play slurs or any other form of articulation. If you mentally sing the notes as you play them, I promise they will emerge from the bell exactly as you sang them.”<br /><br />“Without creating a history of success, there can be no expectation of success.”<br /><br />“Great physical strength is not required to play a brass instrument. However, we must have a powerful mind that can focus on the sound we want to send to the mouthpiece.”<br /><br />I have been asked to explain the reason for Jake’s incredible success as a tuba player. He was able to compensate for his lifelong physical weakness with a powerful musical mind. He always said, “The only physical strength required to play the tuba is carrying it to the stage.” I brought the York to him on several occasions. <br /><br /><strong>ARNOLD JACOBS</strong><br /><br />“(Physical) strength is your enemy. Weakness is your friend,”<br /><br />“We should be somewhat unconscious of our physical maneuvers but highly conscious of our musical goals.”<br /><br /><strong>LEGATO</strong><br /><br />Legato is an articulated form of pure slur. It’s used stylistically in jazz and other musical genres and to imitate the sound of pure slur on the trombone. A softer consonant, such as dAH, lAH, nAH, or rAH is used to substitute for the marked t sound. The open vowel (AH, OH, OU), following the consonant, must be maintained and emphasized in the sound.<br /><br />Since legato is an imitated form of slur, the pure slur should be developed first. This can also be achieved be on the trombone by playing intervals within a single harmonic series. Some trombone players also use pure slur to play notes that move in the opposite direction of the slide. There will be no glissando, however there may be a “false” articulation. For this reason, many trombonist prefer to use legato whenever there is motion of the slide.<br /><br />Legato should first be played on a stationary pitch, imitating the sound of sustained notes,without interruption of the tone. The first note usually begins with the basic marcato attack which is followed by the use of the softer consonant. (tAH-dAH-dAH-dAH etc.) Vocalization, with slide motion, must always take place before playing.<br /><br />After the trombonist has achieved a good legato without motion of the slide, it can be introduced with slide motion. Too often, trombonists are first asked to play legato requiring large motions of the slide. The result is usually failure, because they are distracted by the slide. The slide motion should be one position (half step) and the direction should be descending. Gradually, the slide motion can be increased and ascending legato introduced. <br /><br />The element of time is very important when coordinating the motion of slide and tongue. They must occur simultaneously. When I’m working with a group of players, I have them face each other in a circle so they are aware of each other’s slide motion just as string players are aware of each other’s bowing in an orchestra. I also have them subdivide quarter notes into duple and triple eighth notes for more precise rhythmic accuracy. I also like to simplify legato phrases by first playing them on a single note and to use alternate positions to minimize slide motion. <br /><br /><strong>ROCCOISMS</strong><br /><br />“Imitation of others is an important procedure to ascend the Ladder of Awareness.”<br /><br />“SIMPLIFY AND TRANSFER is a learning process that allows a higher level of achievement. We progress from simple to complex musical challenges in an imitative manner.”<br /><br /><strong>MULTIPLE ARTICULATION</strong> (double and triple tonguing)<br /><br />The study of multiple articulation cannot begin before the brass player has achieved good tone production with the basic marcato attack. The player must have also achieved a fairly advanced level of technical facility.<br /><br />I always challenge brass players first with triple, rather than double tonguing. The primary reason is the 2:1 ratio of the front of the tongue (tAH) to the back (kAH). For double tonguing, the ratio of front to back is 1:1 so the kAH syllable intrudes into the inner oral cavity more often. The (k) consonant is the new element in the syllabic pattern (tAH, tAH, kAH). It can be a major factor discouraging tone production.<br /><br />Some brass and woodwind players prefer to apply the (k) consonant to the second syllable (tAH, kAH, tAH) rather than the third (tAH, tAH, kAH). There is nothing inappropriate about using this syllabic pattern. I prefer to place the (k) consonant on the third note for the following reasons.<br /><br />1. The most widely used method for brass (Arban) places the (k) consonant on the third note.<br /><br />2. The (tAH, tAH, kAH) syllabic pattern is distinctly different from the duple pattern (tAH, kAH, tAH, kAH). Applying the (k) consonant to the middle note means that we are essentially double tonguing the triplet. I found that when we perform multiple articulations in combination, duple and triple, it’s easier to distinguish the two syllabic patterns if they are different.<br /><br />Any syllabic pattern, including a wide variety of consonants and open vowels, will work well if it can be vocalized first. I never recommend the closed vowel (ee) because it forces the tongue into the inner oral cavity, discouraging tone production. Since the tongue intrudes so much into the inner oral cavity, any <br /><br />Since multiple articulation can be a major factor discouraging tone production, trumpet and woodwind players sometimes prefer to use softer consonants (dAH). Other open vowels (tOU, tOH) may also be used. For greater clarity, I always encourage the (t) consonant with the low brass.<br /> <br />It is very important that vocal singing be rhythmical and not too fast. The pitch should remain constant in order to transfer the articulation to the mouthpiece and instrument without valve or slide motion. <br /><br />Here are some procedures I have used to develop rhythmic singing of multiple tonguing syllables.<br /><br />1. First sing the figures using the same syllable for all three notes.<br />tAH tAH tAH tAH tAH tAH <br /><br />2. Next, imitate the same rhythm and diction but introduce the new third syllable.<br />tAH tAH kAH tAH tAH kAH<br /><br />3. Another procedure is to eliminate the third syllable entirely by singing only the first two in strict triplet rhythm.<br />tAH tAH rest tAH tAH rest<br /><br />4. Then the kAH can be precisely placed in the eighth rest.<br />tAH tAH kAH tAH tAH kAH<br /><br />Once the syllables have been developed vocally, they should be transferred to mouthpiece playing at a fairly loud dynamic. Since the tongue is intruding so much into the inner oral air space, we must play loud to encourage and maintain tone production. I may also place a sustained note before the triplet to create good tone production that can be immediately transferred to the triplet.<br /><br />Loud Half Note tAH tAH kAK tAH tAH kAH Loud Quarter Note <br /><br />The final step in the procedure is to transfer the mouthpiece playing to the instrument without changing valves or slide motion (same notes).<br /><br /><strong>VALVE (SLIDE) TONGUE COORDINATION</strong><br /><br />The multiple tonguing exercises in Arban are not organized progressively. I pick and choose the studies in the following order.<br /><br />1. The same pitch within the triplet for the entire measure.<br /><br />2. The same pitch within the triplet but pitch levels change within the measure.<br /><br />3. One pitch changes within the triple.<br /><br />4. All three notes change within the triplet.<br /><br />Each study should be single tongued first at a moderate tempo. It is important to maintain a resonant tone with precise rhythm and tempo. The use of a metronome is recommended.<br /><br />Triple tonguing should imitate the single tongue precisely. There should be no difference in sound between the two. Gradually, the tempo should be increased beyond the player’s ability to single tongue comfortably. <br /><br />I frequently challenge myself by double or triple tonguing technical etudes that are normally slurred such as the 13th Characteristic Study in Arban. <br /><br />Once the player as achieved success in triple tonguing, I apply the same procedures to double tonguing. Finally, I challenge my students with combination double and triple tonguing studies and repertoire.<br /><br />(triplet eighths, tAH tAH kAH four sixteenths, tAH kAH tAH kAH)<br /><br /><strong>ROCCOISM</strong><br /><br />“Musical and technical development is the result of musical and technical challenge.”<br /><br /><strong>IN SUMMARY</strong><br /><br />Proper articulation is a necessary skill used to regulate good tone production. However, the tongue does not produce sound. Poor articulation can be a major factor inhibiting tone production. The player can never achieve good articulation skills if they have not also achieved good tone production. Articulation and tone production are not separate. They must be thought of as equal components of a healthy brass technique. <br /><br />Since the tongue is not involved, the pure (lip) slur is a factor encouraging tone production. Because of the interference of the tongue in the inner oral air cavity, any other form of articulation must be considered to be a factor discouraging tone production. <br /><br />Diction is only a tool used to motivate the proper motion of breath and tongue. Ultimately, the player’s awareness of sound must become the primary motivating factor.<br /><br />Brass players should practice the same technical exercises with a wide variety of articulated patterns. The goal is always to maintain good tone quality and musical style regardless of the technical challenge. <br /><br /><strong>ROCCOISMS</strong><br /><br />“There is no reason for your success or failure other than your state of mind.”<br /><br />“Sound motivates function.”<br /><br />“SING, BUZZ, PLAY”Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com1tag:blogger.com,1999:blog-5301079526041772488.post-29075116378086672422009-12-28T19:34:00.000-08:002009-12-28T20:04:56.271-08:00Technical and Musical Development<span style="font-weight:bold;">ROCCOISMS</span><br /><br />“A career in music is tough business for those who are not highly accomplished artists. For those few musicians who develop their skills, ‘It’s a wonderful life’!”<br /><br />“We must develop our playing skills beyond any challenges that will be encountered on stage.”<br /><br />“It is important to perform well within the limits of our ability, not at the limits of our ability.”<br /><br />“Musical and technical development is the result of musical and technical challenge.”<br /><br />As a young tuba player, I recall a comment made by a very fine professional horn player, regarding some technical exercises he heard me practicing. He said, “Why are you practicing that stuff? You will never encounter it in any orchestral parts.” He was correct about not seeing the Arban, gruppetto studies I was practicing, anytime on stage. However, he was incorrect about my need to develop them anyway.<br /><br />When I first began playing in a school band in the late 1950s, there was very little original music except for traditional Sousa, Goldman, and King marches. Most concert band music was in the form of orchestral transcriptions. The technically challenging orchestral string parts were played by woodwind and brass instruments. <br /><br />I remember that transcriptions, such and Glinka’s Overture to Russlan and Ludmilla, technically and musically challenged almost every instrument in the band. As a result, there were many very fine clarinet, saxophone, cornet, and baritone players in most high school bands. Today, few concert bands play orchestral transcriptions. <br /><br />As a result, the numbers of technically developed players has diminished dramatically because of the diminished challenges. I also notice that many of the orchestral transcriptions available are simplified arrangements.<br /><br />A few years ago, I had an opportunity to conduct the Georgia Allstate Band in Savannah. I requested that they acquire a challenging original orchestral transcription that I knew was no longer published. The officials searched the entire state and eventually found a complete set of parts. Every rehearsal, the students asked me to play the music faster! <br /><br />Until the emergence of the brass quintet by the New York Brass Quintet in the 1960s and the Canadian Brass in the 1970s, tuba playing skill was confined to the level of an accompanying rather than a melodic instrument. Players were not challenged technically so they did not develop beyond the simple music they were asked to play. <br />Harvey Phillips is credited with changing the image and musical expectations of tuba players with his artistry and numerous challenging solo commissions. <br /><br />Before the 1980s, brass playing in Europe was generally less developed than in the US and UK. European players mostly developed their technical skills to the level of the orchestral music, which is generally not challenging technically. <br /><br />The brass band movement in the UK and military style concert bands in the US are credited with the development of higher performance standards for brass instruments. Many American players went to Germany to fill vacant orchestral jobs in their concert halls and opera houses. They also brought American brass pedagogy. <br /><br />Today, brass performance in most European countries has developed to international standards. With the assistance of American and European brass players, the same transformation is taking place in many Asian countries. <br /><span style="font-weight:bold;"><br />CASE STUDY</span><br /><br />One summer in the late 1990s, I invited a young French trumpeter to audit my graduate brass pedagogy class at Vandercook College. At the time, she was studying with a very prominent French artist-teacher. <br /><br />When I first met her, she was in tears. Naturally, I asked why she was crying. She replied, “Because I can’t play!” I confidently promised that before she left Chicago in the next week, her tears would turn to smiles.<br /><br />She attempted to perform the last movement of the Concerto for Trumpet by Hummel. I could tell immediately that the technical challenges of the music were beyond her skill level. Execution was impossible. There were other playing issues beyond her technical limitations, but I could not ignore her technical weakness.<br /><br />I knew we first needed to develop some technical skill apart from the concerto. I asked her to retrieve her Arban, <span style="font-style:italic;">Complete Conservatory Method</span> book. I was astonished to hear her say, “What is that?”<br /><br />She knew nothing about the world’s most important brass method book, authored by Jean Baptiste Arban of the Paris Conservatory! To her and obviously to her trumpet teachers, the challenges of Arban had no relevance to Hummel. I had my copy but I strongly suggested that she soon acquire her own.<br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“We must develop and condition a high level of technical virtuosity to avoid musical limitations in our playing.”<br /><br />It was important that she first master the less technically challenging solos with variations in Arban. I introduced <span style="font-weight:bold;">SING, BUZZ, PLAY</span> and she was able to create significant success immediately. Throughout the week, I challenged her more technically until she was ready to transfer her developing skill to the Hummel.<br /><br />Yes, her tears turned to smiles long before the end of her week in Chicago.<br /><br /><span style="font-weight:bold;">THE CHALLENGE</span><br /><br />It was the final tour of the internationally acclaimed <span style="font-weight:bold;">Philip Jones Brass Ensemble</span>. One of their last performances was at Northwestern University, where I was teaching applied tuba along with Jake. <br /><br />Philip Jones planned to retire soon after the tour. However, he would not allow his name to be associated with the group after his retirement. I was very disappointed to hear him say the brass ensemble would soon be disbanded. <br /><br />The ten member ensemble had a very unique sound that featured several virtuoso members as soloists. One such member was the great British tubist, John Fletcher.<br /><br />John was a converted horn player. Interestingly, Phil Farkas was a converted tuba player! Early in his career, John realized there were many very fine horn players in London and not enough tuba players. In the 1960s and early 70s, John came to Chicago to study with Jake.<br /><br />The Northwestern concert was an inspiring experience! As an encore, they did a funny bit with John playing the Canadian Brass arrangement of “The Flight of the Tuba Bee.” Since it was only scored for brass quintet, five players had no parts. <br /><br />Those players created havoc as John played his virtuoso solo part. Among other things, they pretended they were looking for their missing music in the bell of his tuba. It was very funny! However, John didn’t let any of the hilarity distract him from a single note. I was stunned at his artistry! His virtuoso performance left a powerful impression on me and the others who heard it! I knew I had to get the music and challenge myself. <br /> <br />Soon afterward, I did acquire the music and eventually developed it to a high level. I performed it with numerous brass quintets and also arranged it for tuba-euphonium ensemble. In my imagination, I could hear and see John playing but I was the one with an instrument in their hands. <br /><br />My ultimate goal was to challenge the trumpet players in the quintet to the point where they complained about my tempo. I’m proud to report that they complained most of the time! I’m also pleased to say that these fine players always accepted and met my challenge.<br /><br />Tragically, six months after the Northwestern concert, John had a fatal stroke that left him in a coma for six months. He was only 46 years old when he died. <br /><span style="font-weight:bold;"><br />THE PLAN</span><br /><br />Most young brass players are not prepared for the technical challenges of difficult music. Preparation in a practice studio must come long before an appearance on the stage. <br /><br /><span style="font-weight:bold;">MULTIPLE ARTICULATION</span> (double and triple tonguing) This subject will be covered more <br />thoroughly is a future essay.<br /><br />Words have a powerful impact on the conscious and subconscious mind. As a result, I avoid using the word “tongue”. The instant the word is spoken, the brain begins to analyze the tongue both with mental imagery and by feel. We never create this distracting analysis in speech or when chewing food. Frequently, I found when I lectured about “tonguing”, I would become aware of my own tongue and begin to stutter.<br /><span style="font-weight:bold;"><br />ADOLPH HERSETH</span><br /><br />“Overlap single tonguing speed with double and triple speeds.”<br /><br />“Tonguing has to be 5% consonant and 95% vowel. Use no more tongue than in normal speech.<br /><br />“When practicing etudes, first develop them slowly. Then speed them up.”<br /><br />“Practice various ways of articulating everything”<br /><br />“Whenever you have difficulty technically, think of the passage more musically.”<br /><br />It is very important to understand that any advanced articulation skill, including multiple articulation, must be developed on a solid foundation of excellent tone production and basic articulation. We can never substitute multiple articulation for inadequate single articulation. We must transfer the skill first developed in single to multiple articulation. <br /><br /><span style="font-weight:bold;">SING, BUZZ, PLAY</span><br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“Your subconscious mind already knows how to play the notes. However, it must be highly aware of the notes you want to play.”<br /><br />“Nothing you attempt to play can be by mindlessly blowing and fingering. Every note, regardless of range, dynamic, or speed, is only motivated by a vivid conscious awareness of the sound.”<br /><br />“The most powerful awareness sound is achieved by vocally or mentally singing in a musical style.”<br /><br />“There is no such thing as technical playing without it being musical also. Imaginative musical playing will motivate your technical playing. It’s not the other way around”<br /><span style="font-weight:bold;"><br />H. A. VANDERCOOK</span><br /><br />“If you can sing it, you can play it.”<br /><br />If we accept Vandercook’s statement, then logic dictates that if we can’t sing it, we can’t play it. <br /><span style="font-weight:bold;"><br />CASE STUDY</span><br /><br />One of my students was preparing to audition for the Leonard Falcone International Euphonium Competition. The repertoire list consisted of numerous solos and technical etudes that test every element of the player’s musical and technical development.<br /><br />At the end of his final lesson before the competition, I asked him if he had the discipline to do what I was going to ask of him. He replied with a very confident voice, “Yes, Mr. Rocco, I do!” Yes, I believed him!<br /><br />Included on the repertoire list, were several of the<span style="font-style:italic;"> Characteristic Studies</span> from Arban. The compass of the fourteen studies is only two mid-range octaves. However, they challenge the player both technically and musically.<br /><br />I asked the student to develop the etudes one or two measure at a time, using the following procedure.<br /><br />1. Play sets of four repetitions, starting slowing and increase the speed with each repetition. Repeat sets until you have achieved the ability to play at least 15 beats per minute faster than the required tempo.<br /><br />2. First buzz and finger the sets, using a <span style="font-weight:bold;">BERP</span>. Then, play and finger with the mouthpiece in the leadpipe. Alternate buzzing and playing with continued repetitions of the sets.<br /><br />3. After you are satisfied with your development, repeat the process with the next measure. When you have developed the second measure, repeat the process playing both the first and second measures together. Then, master the third measure. Repeat the formula playing three measures together. Master the fourth measure and apply the formula playing the four measures together. <br /><br />4. Repeat this process four every four measures. Each time you master a group of four measures, go back to the beginning and play the four measure groups together until you have mastered the entire etude. If you experience weakness with any particular measure reapply the formula to that measure or group of measures. <br /><br />This process may seem tedious but is actually works very quickly because it’s “success oriented”. Most players take the approach of starting at the beginning and playing to the end to see how many notes they can execute. Unfortunately, there is mostly failure associated with that approach.<br /><span style="font-weight:bold;"><br />ROCCOISMS</span><br /><br />“A history of success creates an expectation of success. A history of failure creates an expectation of failure.”<br /><br />“The function of a teacher is to create opportunities for success.”<br /><br />The student won first prize. Today, he is recognized as one of the finest euphonium players in the world.<br /> <br />I also apply the same formula of repetitions when I’m working with groups of instruments. I usually substitute vocally singing for the buzzing when working with strings or woodwinds. <br /><span style="font-weight:bold;"><br />IN SUMMARY</span><br /><br />Technical and musical development are combined elements of producing sound with an instrument. They cannot be thought of as being separate because musical playing motivates technique, and technical development allows the player to be more musical. <br /><br />All technical skills, such as fingering or tonguing, must be developed methodically over time. If a player attempts to perform beyond the limits of their ability, they will create a history of failure. That history will cause a self perpetuating expectation of failure.<br /><br />We must develop our playing skills well beyond any challenges we expect to encounter on a performance stage. Any playing skill must be motivated by challenge. The development must take place gradually to mostly allow for success rather than failure.<br /><br /><span style="font-weight:bold;">SCOTT PECK, M.D.</span><br /><br />“Solving life’s problems requires <span style="font-weight:bold;">NEED, DISCIPLINE, TIME</span>.” <br /><br />The following is a list of recommended advanced method books for brass instruments. All brass players, especially euphonium, trombone and tuba, should learn to read in two or more clefs. <br /><br />ARBAN – <span style="font-style:italic;">COMPLETE CONSERVATORY METHOD</span> (pub. Carl Fischer) (treble and bass clefs)<br /><br />KOPPRASCH – <span style="font-style:italic;">SIXTY ETUDES</span> (pub. Carl Fischer) (all brass)<br /><br />SCHLOSSBERG – <span style="font-style:italic;">DAILY DRILLS AND TECHNICAL STUDIES</span> (pub. Maurice Barron) (treble and bass clefs)<br /><br />CLARKE – <span style="font-style:italic;">TECHNICAL STUDIES<span style="font-style:italic;"></span></span> (pub. Carl Fischer) (treble and bass clefs)<br /><br />BONA – <span style="font-style:italic;">RHYTHMICAL ARTICULATION </span>(pub. Carl Fischer) (treble and bass clefs)<br /><br />PARES – <span style="font-style:italic;">SCALES </span>(pub. Carl Fischer) (all instruments)<br /><br />ROCHUT – <span style="font-style:italic;">MELODIUS ETUDES </span>(three volumes, pub. Carl Fischer) (bass clef) The original Bordogni vocal etudes are available in treble clef and with piano accompaniment.<br /><br />POTTAG AND ANDRAUD – <span style="font-style:italic;">SELECTED MELODIOUS PROGRESSIVE AND TECHNICAL STUDIES</span> (two volumes, pub. Southern Music) (treble clef) <br /><br />CHARLIER – <span style="font-style:italic;">ETUDES TRANSCENDANTES</span> (pub. Leduc and Carl Fischer) (treble clef)<br /><span style="font-style:italic;"><br /><br />ROCCOISM</span><br /><br />“No etudes or technical studies should be merely thought of as exercises. They should receive the same attention and development of any other repertoire.”<br /><br /><span style="font-weight:bold;">ARNOLD JACOBS</span><br /><br />“I sing the notes in my head (regardless of range, speed, or dynamic) as I play them. It doesn’t matter how my lip feels or how I feel.”Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com2tag:blogger.com,1999:blog-5301079526041772488.post-25414818498847882442009-12-22T23:24:00.000-08:002009-12-23T05:57:18.610-08:00"Creative Visualization"<span style="font-weight:bold;">ARNOLD JACOBS</span><br /><br />“When I play, I’m telling a musical story.”<br /><br /><span style="font-weight:bold;">SHAKTI GAWAIN</span> (<span style="font-style:italic;">Creative Visualization</span>, Nataraj Publishing)<br /><br />“Use the power of your imagination to create what you want in life.”<br /><br />Jake was an imaginative musician not just a virtuoso tubist. It would not have mattered what instrument was in his hands. He could have been a great pianist or violinist. He became a highly accomplished string bass player simply by placing chalk marks on the finger board! <br /><br />In his personal playing and his teaching, Jake always emphasized musical imagination over mechanics. He thought of playing as an “art form” rather than a technical skill. When he was a student at the Curtis Institute in Philadelphia, he attended a performance class taught by Marcel Tabuteau, principal oboist of the Philadelphia Orchestra. He credits Tabuteau with giving him a strong background in phrasing and musical interpretation. Jake’s vivid musical imagination was expressed very powerfully. <br /><br />He never allowed anything to distract him, including his instrument or how he was feeling, from his imaginative awareness of the music. He inspired his students to elevate their artistic standards to compete with the levels of any great musical artists, not just brass players.<br /><br />I remember a performance of the <span style="font-style:italic;">Symphonie Concertante</span> by Prokofiev. The great Russian cellist Mstislav Rostropovich was soloist with the CSO. The powerful tuba part was frequently a duet with the soloist. Jake matched the incredible musical level of Rostropovich. At the end of the performance, he gave Jake a solo bow and ran back stage to give him a “Russian Bear” hug. It was one of his most astounding performances with the orchestra. <br /><br /><span style="font-weight:bold;">ROCCOISMS </span><br /><br />“Some people have a musical imagination that can be expressed in shades of gray and black. Others hear music expressed in bright vivid colors.”<br /><br />“Emerald City is a bright shade of emerald green, not dark green, gray, or black.”<br /><br />I recall that the most satisfying moments in my lessons with Jake frequently occurred at the end. He would assign several horn etudes by Gallay or Paudert. Then he would say, “Let’s try them now.” He sang along as I sight read the music. Jake was an imaginative singer and master solfege artist. I was astounded at how easy it was to play the etudes so well. It was as if he was playing them rather than me. I could never play the etudes as well on my own, even after practicing them for years!<br /><br />Jake learned about the power of visualization from his wife, Gizella. When they met, she was a professional dancer. She told him about the visualization techniques that dancers used. They imagine dance movements before and while they execute them. Athletes and business people commonly use visualization techniques as well.<br /><br /><span style="font-weight:bold;">CASE STUDY</span><br /><br />We were playing Stavinsky’s, “<span style="font-style:italic;">The Rite of Spring Ballet</span>” with Solti and the CSO. In those days, the orchestra played Friday afternoon concerts that were attended by “shoppers” (Solti called them “bag ladies”! He despised them so much, the CSO eventually eliminated Friday afternoon concerts!) and music students, who sat in the gallery. <br /><br />I remember warming up in the basement of Orchestra Hall before the concert. Jake sat in front of the black shipping trunk next to his locker. I sat facing him about fifteen feet away. <br /><br />He began as a trumpet player before playing trombone and later by accident, the tuba. He enjoyed imagining that the tuba was a trumpet. He would shift his mouthpiece upward to form a trumpet player’s embouchure, and play in the midrange of a trumpet on the tuba. However, he was playing two octaves higher than the midrange of the tuba! It sounded like a resonant trumpet playing with the same ease a clarity of an instrument 4.5 ft long rather than 18 ft. This demonstration made a powerful impression on me both aurally and visually. I was completely astonished! I’m sure he intended the demonstration to be a powerful lesson.<br /><br />Later that afternoon, the Civic Orchestra had their biweekly rehearsal in Orchestra Hall. For my second warm-up of the day, I sat in the exact same spot in the basement dressing room where Jake and I played a few hours before. I remember mentally visualizing Jake sitting in front of his trunk and hearing him do his “trumpet” impersonation. What happened next was almost frightening! <br /><br />I picked up my tuba and duplicated what I heard him play earlier. I was amazed at how easy it was. I had no thoughts of shifting my embouchure or any other mechanics. <br />Interestingly, I was never able to duplicate the experience in a different location, only where we sat in front of his shipping trunk. It was the combination of a powerful visual and aural awareness that allowed me to experience that level of performance. <br /><br /><span style="font-weight:bold;">ROCCOISM </span><br /><br />“Let me paint the picture for you.”<br /><br />When I’m working with young or inexperienced musicians, I frequently use imagined visual imagery to elevate their musical awareness. I call the technique “painting the picture”. Sometimes, I’ll make up a story, or if it’s program music, I’ll describe the real story.<br /><br />Recently, I conducted the <span style="font-style:italic;">Brandenburg Sinfonia</span> by Bach with my high school orchestra. Because of their inexperience, they had no idea of the Baroque style of the music. I painted the picture by describing how Bach would lead the orchestra from the harpsichord. I was using a harpsichord in the orchestra so I asked the student to play the first eight measures of her part. The harpsichord plays block chords (continuo) in a somewhat detached style. It was the style I wanted the strings to imitate. Even though their parts indicated that they play in a detached style, those words meant nothing to them musically.<br /><br />I explained that the harpsichord was leading the orchestra and that they should imitate what they heard coming from the instrument. Needless to say, they immediately sounded like a different orchestra. I said nothing about bowing technique or any other playing mechanics!<br /><br /><span style="font-weight:bold;">“The Pirates of the Caribbean”<span style="font-style:italic;"></span></span><br /><br />When the first <span style="font-style:italic;">“Pirates”</span> movie came out a few years ago, I decided to perform the score at our spring concert. I was astonished to hear how well they could play the music immediately. With such inexperienced players, it usually takes a long time for them to learn new music.<br /><br />I soon learned that most of the students had seen the movie several times. They loved the music as much as the movie. They already had a vivid awareness of the music and how it visually fit the movie. As a result, they could perform at a much higher level than their inexperience should allow. I soon noticed that they readily transferred the higher performance level to the other music on the concert as well. <br /><br />Everything I do, as an orchestra director, is to communicate the music aurally and visually to the students. Musically, they never sound like an inexperienced high school orchestra because that’s not the sound I’m communicating to them. They would sound like an inexperienced high school orchestra if I didn’t influence them from themselves. <br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />"My string and woodwind players know much more about their instruments than I do. The reason for my success as their director, is that I know much more about how their instruments should sound and the music than them."<br /><br />"I’m convinced that what separates musicians has little to do with anatomy or equipment. However, it has everything to do with 'state of mind'."<br /><br /><span style="font-weight:bold;">MUSICAL IMAGINATION</span><br /><br /><span style="font-weight:bold;">ARNOLD JACOBS </span>speaking to RR.<br /><br />“I wish I could put my brain in your body. What a combination that would be!”<br /><br />Bud Herseth, the greatest orchestral trumpet player of all time, played an ordinary Bach trumpet with a stock 1C mouthpiece. Dennis Brain’s horn was in such poor condition that he filled in holes in the tubing with matchsticks.<br /><br /><span style="font-weight:bold;">ARNOLD JACOBS</span><br /><br />“There are two instruments, one in your hand and one in your head. The instrument in your hand is a mirror reflecting the instrument in your head.”<br /><br /><span style="font-weight:bold;">“IMITATION IS THE HIGHEST FORM OF FLATTERY”</span><br /><br />Because Jake opened the doors of opportunity for me at such a young age, I found myself working with some of the greatest brass players in the world by the time I was eighteen. In addition to the CSO, I was on first call at the Grant Park Symphony, Lyric Opera, and in all of Chicago’s recording studios. I played in five professional brass quintets and brass ensembles.<br /><br />I was a music student at Roosevelt University where Reynold Schilke taught trumpet and directed the brass choir. Great brass players from all over the world would frequently come to Chicago to study or perform. Schilke would routinely organize a group of brass players to play ensemble music with the visitors on Saturday mornings at his downtown trumpet factory. I was very fortunate to be the invited tuba player! <br /><br />I survived by imitating what I heard around me. I didn’t have enough experience to make it on my own, but I was smart enough to go with the musical flow.<br /><br />I credit one brass quintet in particular for my personal musical development. The trombonist (bass) was a natural musical genius who I also sat next to in the Civic Orchestra. He was only a year older than me but his musical imagination and playing level was that of a fully seasoned professional in a major orchestra. He was a powerful influence on me and everyone else in the quintet. He was considered to be the “heir apparent” to replace Ed Kleinhammer in the CSO someday.<br /><br />One day, someone told him he should consider changing his embouchure to increase his endurance. Tragically, that was the beginning of the end of his career. He eventually gave up the trombone and became a fine recorder player. <br /><br />As a high school student, I collected records and frequently went to the library in downtown Chicago to listen to recordings and read scores. <br /><br />Very few musicians have an opportunity to experience music performance at such a high level, at such a young age. It was a very fertile environment in which to grow my musical imagination.<br /><br /><span style="font-weight:bold;">THE AGE OF COMMUNICATION</span><br /><br />Because of the internet, there is a tremendous opportunity to access the highest levels of musical performance in the world. <span style="font-style:italic;">Itunes</span> and <span style="font-style:italic;">youtube</span> allow us instant access to recordings and videos from the past and present.<br /><br />The highest level of musical awareness can be achieved when we vocally and mentally sing. Jake was a beautiful singer who highly recommended the study of solfege to his students. <br /><br />He also advocated playing vocal music, interpreting it like a great singer.<br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“The sound that comes out the bell of your horn is precisely the same level as the awareness of sound in your head. Neither you or the instrument can lie.”<br /><br />“You must be an honest musician because you have a lie detector in your hands.”<br /><br /><span style="font-weight:bold;">LADDER OF AWARENESS </span><br /><br />Jake tells us to create an imaginative mental awareness of the music we want our audience to hear. He talks about his studio practicing at Curtis. He knew that Leopold Stokowski or Fritz Reiner might be walking by and hear him play. Whether they were actually there or not, he always tried to play at the level he wanted them to hear. His playing was always mindful, never mindless.<br /><br /><span style="font-weight:bold;">ARNOLD JACOBS</span><br /><br />“Never practice, always perform.”<br /><br />When Jake says, “Tell a story”, he asking us to communicate musically to an audience just as if we were speaking to them. However, it’s very important to have something special to say.<br /><br />When I coach brass players in preparation for an audition, I tell them to amplify everything they are trying to communicate musically. If they separate themselves musically from their competition, they will also separate themselves technically as well. This requires courage and the willingness to take risks.<br /><br /><span style="font-weight:bold;">ADOLPH HERSETH</span><br /><br />“A trumpeter’s life is risky business. No greatness can be achieved if the player is paralyzed by fear.”<br /><br /><span style="font-weight:bold;">CASE STUDY</span><br /><br />When I played my audition for the Honolulu Symphony, the conductor was on the stage with me. He was a marvelous cellist who played in the NBC Symphony with Toscanini at the age of sixteen and was formally principal cellist of the CSO.<br /><br />As he selected the excerpts, I sensed his awareness of what he wanted to hear from me. He gave me powerful visual cues which strongly influenced my ability to execute the music. He helped raise my musical awareness level which was honestly expressed by the sound coming from the bell of the tuba. <br /><br /><span style="font-weight:bold;">CREATIVE VISUALIZATION</span><br /><br />“Creative Visualization” is the mental awareness (aurally, visually or both) of anything, including the sound of music. Shakti Gawain says that if we maintain any conscious mental awareness for enough time, our subconscious brain will react powerfully to realize that awareness. She recommends renewing the visual and (or) aural imagery several times a day.<br /><br />For brass players, I recommend the repetition of the SING, BUZZ, PLAY formula in sets of three.<br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“Moving up the ladder of awareness will bring you to the notes you want to play.”Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com0tag:blogger.com,1999:blog-5301079526041772488.post-32367439578964280852009-12-16T17:58:00.000-08:002009-12-17T03:58:07.552-08:00Mouthpiece Placement<span style="font-weight:bold;">The “E” Word</span><br /><br /><span style="font-weight:bold;">MAURICE ANDRE</span><br /><br />“Brass players are much too concerned about their embouchure and not concerned enough about their sound.”<br /><br />Along with “Air”, the “E” word (embouchure) is overused in traditional brass pedagogy. Too often, teachers make the assumption that the reason their students are failing, is because there is something wrong with their embouchure or use of air.<br /><br />When we hear poor tone production coming from the bells of our student’s instruments, there is malfunction of embouchure and air. But most often, those malfunctions are symptoms of something else that’s wrong.<br /><br /><span style="font-weight:bold;">ADOLPH HERSETH</span><br /><br />“There’s nothing wrong with your chops. Your mind is messing them up.”<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“There is no reason for your success or failure other than your ‘state of mind’.”<br /><br />“Sound motivates function.”<br /><br />“There is plenty of air to support the poor sounds coming from the bell of the instrument.”<br /><br />Throughout my career, I have heard horror stories about students who had “dreaded” embouchure changes imposed on them by well meaning, but misguided teachers. Some players survive this unnecessary and potentially destructive imposition, but for too many, their careers are ruined. <br /><br />In all my years of association with him, Mr. Jacobs never said one word to me about my embouchure!<br /><br /><span style="font-weight:bold;">CASE STUDY</span><br /><br />I have taught brass pedagogy and instrumental performance at fifteen colleges and universities. I recall an incident that occurred at one of those schools.<br /><br />At the end of his first semester, a freshman trumpet player requested to register for his applied trumpet lessons with me the second semester. He had made no progress working with his assigned trumpet teacher and was being denied an opportunity to play with the band. He was almost completely unable to function. I mentioned that if he had permission from his regular trumpet teacher, I would accept him for one semester. I knew it would be enough time to show him how to play.<br /><br />From the beginning of his first lesson, it was obvious that he never understood how to play the instrument. I also noticed that he had a very unorthodox placement of the mouthpiece on his lips. His upper lip curled over the top of the mouthpiece rim. However, I said nothing to him about his embouchure.<br /><br />We began his first lesson by applying the SING, BUZZ, PLAY formula, and were able to create some success immediately. At the end of the lesson, he was very relieved to know that he could play the trumpet.<br /><br />Finally, I asked, “Has anyone ever mentioned your unusual mouthpiece placement?” Showing his frustration, he almost fell off the chair. He replied, “For years everyone, including every director or private teacher and my father.” I asked, “Where’s your father?” He said, “Sitting out in the hall!” I told him to invite his father to come into the studio. I was determined to have at least one person get off his back about his embouchure.<br /><br />His father, an oboist, was a graduate of the same college. I proceeded to explain to the father that his son’s performance problems had nothing to do with his embouchure. Then the father told me an astonishing story about his first lesson with the principal oboist of the Chicago Symphony.<br /><br />He said the first hour of the lesson was about making reeds and orthodox oboe embouchure. At the end of the two hour lesson, the teacher placed the reed in the corner of his mouth, ignoring everything he said about proper embouchure, and played beautifully. He was stunned! He never understood that demonstration until our discussion.<br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“You can give your worst mouthpiece (reed) or instrument to an advanced player and they will still sound like an advanced player. Conversely, if you give the finest equipment to an elementary player, and they will still sound like an elementary player.” <br /><br />The trumpet player progressed beautifully over the next four months. He planned to play the last movement of the Hummel Trumpet Concerto for his jury. The lesson before the jury went very well. However, his jury performance was not a success.<br /><br />When he arrived in the performance room, he found himself in the presence of the same people who hounded him about his incorrect embouchure. As a result, he began to think about his chops rather than the music. <br /><br />Later, I asked him what they said about his very poor performance. Their response was predictable. <br /><br />“Your embouchure is incorrect.”<br /><br />The student was able to transcend the negative comments and continue his college career without having someone impose a change of embouchure.<br /><br /><span style="font-weight:bold;">THREE GUIDELINES FOR MOUTHPIECE PLACEMENT</span><br /><br /><span style="font-weight:bold;">COMFORT</span><br /><br />Most brass players will place the mouthpiece in the most comfortable place on their lips. However, some teachers insist that the mouthpiece be precisely centered or in some other position. Because of the player’s teeth, braces, or some facial structure, an imposed mouthpiece position may be uncomfortable and will distract the player from the music.<br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“Feel and fail are four letter words to a brass player.”<br /><br />“A change of embouchure is a needless imposition of pain that will cause increasing failure. Unless the brass player is highly motivated to transcend the discomfort with a powerful awareness of sound, they have no chance of success.” <br /><br />“We must do things that will prevent, rather than encourage us from going into the “feel mode” when we play.”<br /><br />Feel involves input to the brain from sensory tissues. However, in order to accomplish any physical function, there must be output (motor function) from the brain to the muscle tissues. If we allow input to be dominant over output, the result will be paralysis.<br /><span style="font-weight:bold;"><br />ARNOLD JACOBS</span><br /><br />“We must give dominance to motor systems, not sensory systems. It is impossible to make sound or create any accomplishment using sensors.”<br /> <br />We should not be concerned about having the contact of the mouthpiece “feel good” when we play. But there cannot be excessive discomfort for any reason.<br /><br />In a previous essay, I mentioned the story of Bud Herseth transcending the pain from his car accident when he performed with the CSO. In his studio, embouchure pain was so dominant he couldn’t play. But, he had the courage to perform with the orchestra. <br /><br />On the stage of Orchestra Hall, the music was dominant and he could play. The challenge of the music altered his state of mind. There was another interesting element of his recovery experience.<br /><br />About six months into his recovery, he happened to glance into a mirror while playing and noticed that his mouthpiece placement had shifted slightly from center. He never made a conscious decision to move the mouthpiece but his subconscious mind changed the placement in order to alleviate pain.<br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“Brass players who experience discomfort because of their mouthpiece placement, should be allowed to move the mouthpiece anywhere necessary to alleviate pain.”<br /><br />Students who have irregular teeth or are expected to wear braces for an extended period can alleviate some discomfort considering the following.<br /><br />The characteristics of air pressure and air flow encourage tone production at low frequencies. Air pressures (resistance) are low, thus flow rates are high. As a result, less contact pressure is required to maintain the embouchure at low frequencies.<br /><br />1. Lower register playing requires less contact pressure on the rim. <br /><br />2. Wider rim, larger diameter, or cushioned (well rounded rim) mouthpieces disperse contact pressure over greater tissue surface.<br /><br />3. Low brass instruments have larger rim mouthpieces and require less contact pressure to maintain the embouchure.<br /><br />4. Upper register playing requires increased contact pressure on the rim. A wider rim mouthpiece will disperse rather than concentrate contact pressure.<br /><br />Because the brain is capable for sending a musical message to any of the lip surfaces, it is not necessary to center the mouthpiece. Farkas mentions that it is also possible to play well by placing the rim of the horn mouthpiece on the interior surfaces of the lower lip. Jake frequently mentioned how “the seventh cranial nerve” transmits the musical message from the brain to the lips.<br /><br />Jake also enjoyed doing a very amusing demonstration. He played a melody on his mouthpiece as he grotesquely distorted his embouchure and moved the mouthpiece all over his lips. During the demonstration, the resonant melody could be heard without interruption. <br /><br /><span style="font-weight:bold;">EQUALIZED CONTACT PRESSURE</span><br /><br />The contact pressure of the mouthpiece on the player’s lips should be about the same at all points around the rim. It is also important to understand that the pressure is not minimal, nor should it be excessive.<br /><br />Phil Farkas (The Art of Horn Playing, The Art of Brass Playing, Southern Music Co.) took numerous photos of brass player’s embouchures while playing on a mouthpiece rim. It is very clear to see by the, lips bulging inside the rim, that the contact pressures are not minimal. <br /><br />As noted in a previous essay, excessive contact pressure is a symptom of weak chops.<br />If there is not enough contact pressure on either the upper or lower lip, there may be a lack of support when playing very loud. <br /><br />Because all facial structures are different, the brass player’s playing angle is an important consideration. The brass player must establish and maintain equalized contact pressure. The playing angle will not be uniform for all players.<br /><br />Brass players with an overbite (most common) will tend to have a downward playing angle, while those with an under bite will play parallel to the floor or may point their mouthpiece slightly upwards. The best way to determine the proper playing angle is to play on the mouthpiece and then bring the instrument to the angle of the mouthpiece. This is easy to accomplish with a trumpet or trombone. It can be tricky for horn players, if they rest the bell on their thigh or hold the instrument off their thigh. <br /><br />Too often, I see young horn players resting the instrument on their thigh in such a way (bell pointing into their stomach) that the leadpipe is approaching the embouchure at a severe downward angle. This causes too much pressure on their upper lip and not enough on their lower lip.<br /><br />Euphonium and tuba players, requiring a severe playing angle, have a difficult time achieving the proper angle with large instruments. In that event, I recommend bending the mouthpiece at the throat. This must be done by a competent instrument technician so that the throat and stem are not reduced in size. In most cases, euphonium and tuba players will adjust the angle of their head instead of trying to adjust the instrument.<br /><br />During my years spent in Chicago’s recording studios, the number of microphones available was limited by the number of tracks that could be recorded at one time. Usually, it was just eight tracks, but later, sixteen track machines became available. <br /><br />Three trumpet players had to play into a single microphone. I recall one fine player who had a severe under bite. It was impossible for him to play at the same angle at the other two players so he used a bent mouthpiece.<br /><br />Since the microphone for my tuba was stationary, it was important that my bell always point in the same direction with as little motion as possible. I took a cue from the trumpet player and had Reynold Schilke bend one of his number 67 tuba mouthpieces to compensate for my minor overbite. I still use that same mouthpiece and horn combination today.<br /><br />As a brass player changes registers, the playing angle (pivot) continuously changes with the shifts in the embouchure. Most players will make these adjustments with movement of their head. Pivots are necessary to maintain equalized contact pressure. Excessive motion is a sign of the player’s limited technical facility and embouchure development. <br /><br />Motion of the head and embouchure are the brain’s subconscious response to create the conditions necessary (equalized contact pressure) to execute the sound. They can only be motivated by a vivid awareness of sound not by studying ourselves in a mirror.<br /><br />Some misguided methodologies prescribe precise head angles (pivot) in various registers. We cannot create sound by consciously studying motion of air or any body part. <br /><br /><span style="font-weight:bold;">ROCCCOISMS</span><br /><br />“It is sound that motivates the subconscious mechanics of air and embouchure. We cannot use conscious awareness of mechanics and air to motivate sound. The mechanics are so complex that our limited intellect will allow little or no awareness of sound.”<br /><br />“At the conscious level, we can only have a single thought at any time. At the subconscious level, thoughts and awareness are unlimited.” <br /><br />Normal motion of the head and embouchure should not be exaggerated. Since excessive motion is a symptom of an undeveloped embouchure and limited technical facility. I prescribe slurred velocity exercises (scales and chords) that challenge the player over two or more octaves. In time, the brain will learn to minimize shifts of the head and embouchure to satisfy the facility requirements. Since there isn’t time for exaggerated motion of embouchure and head, the subconscious brain learns how to efficiently execute the notes in velocity with less motion. Ultimately, smooth slow slurs played over wide intervals, become much easier to execute.<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“I do not recommend visual analysis in front of a mirror to develop any musical or technical skill.” <br /><br />“In all my years of performing with some of the finest brass players in the world, I never once saw anyone studying themselves in front of a mirror.”<br /><br />“It is sound that motivates function, not function that motivates sound.”<br /><span style="font-weight:bold;"><br />ARNOLD JACOBS</span><br /><br />“Breathe to expand, rather than expand to breathe.”<br /><span style="font-weight:bold;"><br />EMBOUCHURE LENGTH</span><br /><br />Logic tells us that it would be an advantage for tone production to utilize the longest embouchure possible. If we compare an oboe reed with that of a bassoon, the bassoon reed has much greater potential for resonance because of it’s greater size. If we were to place an oboe reed in the bocal of a bassoon, the sound of the bassoon would be very thin.<br /><br />On a brass instrument, the greatest length of embouchure is achieved when the lips come together to form an aperture (space between lips) at the diameter of the circular rim of the mouthpiece. <br /><br />Today most brass players, except for horn, place the mouthpiece on their lips in this manner. However, many very successful brass players, including horn players, shift the mouthpiece up or down so there is a difference between vibrating surface areas of the two lips. If the mouthpiece is shifted so the ratio of upper lip to lower lip is 2:1 (most common), there will be a corresponding ratio of surface area set into resonance. <br /><br /><span style="font-weight:bold;">URBAN LEGEND</span><br /><br />There is a myth that the reason for the traditional shifted placement is because only one lip vibrates in the mouthpiece. It’s not possible to vibrate only one lip when both lips are inside the rim and air flows through the aperture between them. <br /> <br />In The Art of Horn Playing (Southern Music Co.), Farkas photographed the embouchures of 30 professional horn players. Interestingly, their mouthpiece placement varied wildly. Some players had almost no lower lip in the rim while some used almost no upper lip. A few players had no shift at all. Farkas said that all the players were very successful professionals. <br /><br />It must be deduced that mouthpiece placement was not the most important factor determining their success. <br /><br />One theory for the use of the shifted mouthpiece placement is an advantage to playing in the upper register of the instrument. Before the invention of valves in the 1820s, brass instruments were required to be much longer to access the smaller intervals of the upper partials.<br /><br />It becomes increasingly difficult to resonate the air column in the upper partials of the overtone series. Except for the Sackbut (early trombone), brass players were required to play in the upper register of their trumpets and horns most of the time. The F horn is the same length as the modern F tuba. Horn players are essentially playing high notes on a tuba most of the time. Baroque trumpeters (without valves) are playing high notes on a Sackbut most of the time.<br /><br />As a result, the standard mouthpiece shift, before the invention of valves was, 2/3 upper lip-1/3 lower lip. Some very effective brass players retain the shift today. It is standard mouthpiece placement for horn players. However over many years, I have asked hundreds of directors if they have their horn players shift the mouthpiece. I estimate that 95% don’t !<br /><br />Today, most trumpet and low brass players do not shift their mouthpiece. Does it really matter where the aperture occurs within the mouthpiece rim?<br /><span style="font-weight:bold;"><br />CASE STUDY</span><br /><br />I received a request for a lesson from a tuba player who had recently graduated from a major university with a DMA in performance. However, she was having problems with her playing. I gave her an appointment for a late Friday afternoon.<br /><br />Yes, she was having great difficulty playing, especially in the middle and low registers. I noticed that the top of the rim of her mouthpiece was cut off. Naturally,I asked about it.<br /><br />Several prominent teachers told her that the reason she was struggling was because of the need to shift mouthpiece placement. If she cut off the top of the mouthpiece rim, she could shift it even more!<br /><br />I said, "Is that working for you?" The boxing gloves came on!<br /><br />When a student begins to fight me, I ask them, "Why are you here?" You wouldn't come to me if everything was working well for you!<br /><br />Sometimes students want to find out how to make their dysfunctional method work. They are not interested in a new approach. This credentialed tuba player was one of those people. She resisted everything I said to her for more than six hours!<br /><br />Finally, I said, "Are you busy this evening?" She replied, "No". I replied, "I can't let you leave until you experience some success." She agreed to stay.<br /><br />I knew her career was in serious jeopardy if she did experience some success that evening. She would never return and would continue to try to make her shifted mouthpiece placement work. I knew it would never work because her cut off mouthpiece had nothing to do with the fact that she couldn't play!<br /><br />We spent the next five hours (with breaks)in a boxing match. Finally, at 10:00 she experienced success. I asked her what caused the change. She said, "I finally decided to listen to you because I want to go home!"<br /><br />She eventually enrolled as a graduate student in music education at Vandercook where she continued to study with me. She played a very successful graduate recital, without the cut off mouthpiece! <br /><br /><span style="font-weight:bold;">CASE STUDY </span><br /><br />One summer, I received a call from a mother regarding her seventh grade daughter who had been playing a cornet in her middle school band. The daughter’s band director wanted her to convert from cornet to the horn over the summer.<br /><br />Since she had been playing cornet for several years, I said nothing to her about using a shifted horn embouchure. Had I imposed a standard 2/3-1/3 shift, she would have experienced a great deal of discomfort in her embouchure. That pain would have needlessly distracted her from the music and cause her to fail. I knew that Barry Tuckwell and many other fine professional horn players, did not shift their mouthpiece.<br /><br />By the time she went to high school a year later, she was an excellent horn player. She attended a high school that has one of the finest instrumental programs in Illinois. She was awarded first chair in the wind ensemble as a freshman, playing the instrument for only one year! <br /><br />In Illinois, you cannot perform at All-State until your junior year. She won principal horn in the Honors All-State Orchestra both her junior and senior years. She established herself as the finest high school player in the state. No one ever said a word about mouthpiece placement until she attended a major university. The result was a career ending disaster!<br /><br />Even though she already was a very successful player, the horn professor told her that her embouchure was incorrect and insisted that she must shift the mouthpiece. As a result, he ruined her very promising playing career and, as I learned later, the careers of many other players. <br /><br />Unfortunately, this story is more common than not. I have heard the arguments, from some instrumental teachers, that their imposed embouchure changes “worked miracles” for their students. <br /><br />Yes, it is possible to transcend the discomfort and develop one’s playing with a different mouthpiece placement. In most cases, the players became even more highly motivated to focus on the music. If their playing improved after the embouchure change, it’s because they transcended the pain with a greater awareness of the music, recalling Mr. Herseth following his automobile accident. <br /><br />It’s possible for the brain to send a musical message to any surface tissue around the mouth. The mouthpiece does not have to be confined to a narrow area of tissue. <br /><br />When I’m working with beginners or non-brass instrumentalist, I motivate them to produce excellent sounds on their mouthpiece immediately. They have no embouchure development but I immediately give them musical awareness. They are able to realize that awareness immediately. <br /><br /><span style="font-weight:bold;">H.A. VANDERCOOK</span><br /><br />“Keep it simple.”<br /><br />With inexperienced brass players, I use very familiar melodies (Mary Had A Little Lamb) or simple terms like “loud”, “high”, or “low” to create an immediate musical awareness. <br /><br /><span style="font-weight:bold;">CASE STUDY</span><br /><br />Several years ago, I attended the Texas Bandmasters Convention held in San Antonio. Christian Lindberg performed as trombone soloist with the Army Band. Following his magnificent performance, the thrilled audience immediately rose to award Mr. Lindberg well deserved accolades. <br /><br />I remember a comment that I overheard from one of the directors standing near me. He said, “Wow! Can you imagine what his embouchure looks like?” I was totally disheartened because I knew it didn’t matter what his embouchure looked like. What was important was what it sounded like! The director didn’t understand that fact and far too many others don’t understand as well. <br /><br />Mr. Lindberg had absolutely no concern about the appearance of his chops or what they felt like. He was totally committed to just the sounds that he wanted to communicate to the audience!<br /><span style="font-weight:bold;"><br />CASE STUDY</span><br /><br />One of the finest students of my teaching career is a euphonium player who first came to me as a sophomore in high school. At the age of sixteen, he won a competition to appear on a live telecast as soloist with the Chicago Symphony. At seventeen, he won first prize in the Leonard Falcone International Euphonium Competition.<br /><br />Upon graduation from high school, I told him that he already had all the knowledge required to play his instrument well. He should continue his college studies, working with a euphonium artist-teacher. I suggested teacher “A”. He was thrilled because he had always hoped to study with him someday. He scheduled a lesson with teacher “A”. I asked him inform me about the lesson. <br /><br />I received a distressful call soon after the lesson. He said, “Mr. Rocco, I can’t study with teacher “A”! He said my breathing and embouchure were all wrong. Then, he put me in front of a mirror to have me visually analyze my face and chest. By the end of the lesson, I couldn’t play anymore. What a disappointment! <br /><br />I mentioned that I was sorry for his experience and I was sure he would be satisfied with artist-teacher “B”. He enrolled at the major university where teacher “B” was on the faculty.<br /><br />Periodically during the school year, I received progress reports. I could tell he was not happy. He was receiving the same old analytical trash! At the end of the year, he mentioned he was leaving teacher “B”.<br /><br />I saw him for a lesson the summer following his first year in college. I was dismayed to see that his playing had deteriorated. I confidently mentioned the name of artist-teacher “C”.<br /><br />Teacher “C” (tuba) was a wonderful student of Mr. Jacobs. “A” and “B” are not Jacobs students. I had hoped the two artist-teachers would focus only on the music. In the fall, the student enrolled at the major university of teacher “C”. From the beginning, he was very happy.<br /><br />I told him that if a gig ever came along before he finished school, he should drop out and accept the opportunity. He soon won a job playing with one of the major DC military bands. Today, he is one of the most prominent brass players in all the military bands. <br /><br />Most college teachers are hired because of their performance ability not for the success of their teaching. As a result, many very fine performers are somewhat poor teachers if their students are experiencing playing problems.<br /><br />I have had many students, with impressive college credentials, come to me because they can barely play. <br /><br />I once asked a horn player, who had recently received her Master of Performance degree from a major university, what her artist-teacher said about her severe playing problems. He said, "I don't understand why you can't play anymore than I understand why I can."<br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“We cannot motivate our embouchure by observation. It can only be motivated by our vivid awareness of sound.”<br /><br /><span style="font-weight:bold;">IN SUMMARY</span><br /><br />The embouchure is created by the subconscious brain in order to realize the player’s conscious awareness of sound. It’s the quandary of the chicken or the egg. Which came first?<br /><br />Traditional brass pedagogy says in order to create the perfect sound you must first create a perfect embouchure. Mr. Jacobs (Herseth, Rocco and many others!) tells us that it’s the awareness of sound that must come first. The development of the embouchure will follow gradually just as the ability to say words with vocal chords gradually followed our awareness of words.<br /><br /><span style="font-weight:bold;">ROCCOISMS</span><br /><br />“A child learns how to speak because of the sound of words rather than the study of vocal chords.”<br /><br />“Because there are no standard facial structures there cannot be a standard mouthpiece placement.”<br /><br />If the brass player is musically motivated and given enough time, they can realize their awareness with almost any mouthpiece placement. <br /><br />Brass players and teachers should be aware that if standards of mouthpiece placement are imposed, failure may result because the standard may not fit the player’s facial structure. The brass player must be free to place the mouthpiece comfortably and with equal contact pressure on their lips. If this doesn’t occur, they will become distracted by the discomfort and will fail.<br /><br /><span style="font-weight:bold;">MINDLESSLY BLOWING THE INSTRUMENT</span><br /><br />Some teachers complain that the poor performance of their students, is the result of “puffing cheeks”, “puckered lips”, “tight lips, “loose lips” etc. They give them “embouchure magnifying mirrors” in order to study their face. Other teachers have their students play on glass mouthpieces so they can visually analyze their chops when they play. Where is the player’s concept of sound when they are analyzing their face in a mirror?<br /><br />When a brass player is “mindlessly blowing” into their mouthpiece, there is no musical message to motivate the subconscious formation of an embouchure. There are certain principals of mouthpiece placement as outlined earlier in this essay. <br /><br />Self analysis must be kept to a minimum. Concept of tone should be the dominant. <br /><br />I am aware of many very successful brass players who “puff their cheeks” or have some other unorthodox mouthpiece placement. Does it matter if they are successful brass players?<br /><br /><span style="font-weight:bold;">CASE STUDY</span><br /><br />I recall attending a brass quintet concert of an excellent group from Boston. I was invited by the very fine tuba player who had studied with me on occasion in Chicago. I immediately notice that one of the excellent trumpet players severely puffed his cheeks when he played.<br /><br />Following the concert, I had an opportunity to meet with the members of the quintet. I knew that the quintet performed many educational concerts and gave numerous brass clinics in schools. I said to the trumpet player, “I’ll bet the directors make you crazy asking why you play so well when you puff your cheeks.” He replied, “Yes,I just tell them I’m a freak of nature.”<br /><br /><span style="font-weight:bold;">ARNOLD JACOBS<br /></span> <br />“I don’t care if what you are doing is all wrong if it sounds good.”<br /><span style="font-weight:bold;"><br />We must conclude that if it sounds good, it cannot be wrong!</span><br /><br /><span style="font-weight:bold;">ROCCOISM</span><br /><br />“Embouchure is created by the brass player’s subconscious mind in order to realize their vivid concept of sound. We must not care what it looks like, only what it sounds like.”Roger Rocco (rogrocco@aol.com)http://www.blogger.com/profile/04562717841664582273noreply@blogger.com3