[Trombone-l] Charles Colin Lip Flexibilities

[sabutin]

Paul...

Breathe.

Whenever and wherever you must.

Different instruments have different air necessities.

Different trombones have different air necessities.

Different positions and ranges on the instrument have different air 
necessities. (I can NEVER play an exercise of that sort w/out a 
breath for as long in say 6th position as I can in 1st. It's a bigger 
horn in 6th. And on my .500 bore/12C combination as opposed to my 
.525/6 1/2AL plus (Clarke S). .547/ Parke/Friedman or bass? 
Fuggedaboudit.)

Plus I have more air capacity than some good players and less than others.

It's all about genetics no matter HOW hard you work.

Plus different people/different styles of playing have different air 
necessities.

Here's what I have come to with this question...on ANY 
connection/chop/air exercise.

Play the exercise in good, internally subdivided time...as fast as 
you can and still play it nearly perfectly no how slowly that may be. 
When you begin to run out of air, stop. Keep the time going and the 
m'pce/chop set as undisturbed as possible; breathe, and then begin 
again a note or two previous to where you left off ON THE SAME 
SUBDIVISION OF THE MEASURE AS THE ONE ON WHICH YOU WERE PLAYING IT 
WHEN YOU STOPPED. That way you continue from whatever chop/air column 
position you have achieved so far in the exercise...and believe it, 
ALL flexibility exercises that cover more than a couple of partials 
are about chop and air column position(s), plus airflow and 
support...with a proper amount of air to finish the exercise or at 
least go to the NEXT place where you have to breathe.

Have fun...

S.

>I have a question concerning the Colin Lip Flexibilities for those of you
>who use them.
>
>As the phrases get longer, do you find it necessary to breathe in the middle
>and keep on going?
>
>I know that Charles Colin was a trumpeter, and perhaps the airflow
>requirements aren't as great on trumpet as they are on trombone. In my own
>opinion, I think the idea is to play them as smoothly and musically as
>possible, and if you have to breathe in the middle of a phrase, so be it.
>
>I'm certainly open to ideas.
>
>Paul Kemp    
>
>
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