[Trombone-l] limits was Sound & Hearing Loss

[David W. Buckley]

Don't know about Maurice Andre's practice routine but I heard him once in a
live concert. Not only did he not miss or clam anything but he sounded as
though he had never missed anything in his life. Quite an amasing player.

Dave Buckley.

----- Original Message -----
From: "Paul Kemp" <trbnplyr at bellsouth.net>
To: <TROMBONE-L at server5.samford.edu>
Sent: Wednesday, March 29, 2006 9:32 AM
Subject: Re: [Trombone-l] limits was Sound & Hearing Loss


> That was always the theory of Carmine Caruso, for what it's worth. It was
> his theory that eventually the chops would be able to handle the air
stream.
> That also seems to be the theory behind the Phil Teele Long Tones also,
even
> though he never said anything to that effect in his book. Well, maybe he
> did: He said that as the embouchure clamps down on the air stream, it
speeds
> up, thus producing a better sound.
>
> I do know one thing, however. Long tones, even if practiced at less than
> maximum volume, are the real secret for the sound to be extremely well
> centered, and it seems that when the sound is well centered, it is
perceived
> as being louder than what it is in reality. Once the embouchure has
> developed efficiency, then it is so much easier to play both louder and
> softer. It has been my experience that very few people, amateurs and
> professionals alike, are willing to do that kind of ditch-digging hard
work.
> I am not saying that Phil Teele's way is the only way, but I do believe
> still that long tones are the foundation to successful brass playing.
>
> I heard from a colleague of mine that Maurice Andre would play through any
> new piece that he was learning with every note as a whole note. That may
> seem rather extreme to some, but I've also heard from numerous people that
> he was capable of playing a 2 hour recital without clamming anything. I
> believe the reason he did that was to practice so slowly so that
everything
> was timed in perfectly, therefore not practicing his mistakes. I don't
think
> he's in good health, but his recordings still drive people nuts because
they
> are so amazing.
>
> It's amazing how all of these things fit in together. It's not necessarily
> how loud it is but how good it sounds.
>
>
> Paul Kemp
>
>
>
>
>
>
>
>
>
> -----Original Message-----
> From: trombone-l-bounces at maillists.samford.edu
> [mailto:trombone-l-bounces at maillists.samford.edu] On Behalf Of Jeff Albert
> Sent: Wednesday, March 29, 2006 8:32 AM
> To: Richardson,Timothy Mr. DAC USAG Franconia DPW
> Cc: TROMBONE-L at server5.samford.edu
> Subject: [Trombone-l] limits was Sound & Hearing Loss
>
>
> On Mar 28, 2006, at 11:49 PM, Richardson, Timothy Mr. DAC USAG
> Franconia DPW wrote:
>
> > That sounds good in theory but I can blow louder than small horns
> > can take,
> > and some people can blow louder than any horn can take.  Increased
> > effort
> > does not lead to more sound, after a certain point all horns seem
> > to go into
> > diminishing returns.  So something is missing from your analysis.
> >
>
> But are we out blowing the horn, or our chops?  I would say that when
> we over blow, it is our chops that can't hold together, not the horn.
>
> Jeff
>
>
> > -----Original Message-----
> > From: Daniel Pliskin [mailto:daniel_pliskin at hotmail.com]
> > Sent: Tuesday, March 28, 2006 05:54
> > To: TROMBONE-L at server5.samford.edu
> > Subject: Re: [Trombone-l] Sound & Hearing Loss
> >
> >
> > I'm not sure whether this was the thread where someone wondered
> > what the
> > theoretical maximum sound pressure might be, coming out of a
> > trombone, but I
> > had a thought about that, so here goes...
> >
> > The only aerodynamic limits that I can think of are from cavitation
> > and mach
> > 1.  A human couldn't possible achieve either condition; so the
> > loudest a
> > human could play a trombone would be limited by the human and not
> > by the
> > physics.
> >
> > DanP
> >
> >
> >
> > _______________________________________________
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> >
> >
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