The reed refers to the aperture between the lips through which the air passes when playing. (our lips form the reed) The largest reed is one that approaches or equals the maximum inner diameter of the rim. The smallest reed is -- assuming the typical 2/3 upper and 1/3 lower or half and half position on the mouthpiece -- with the opening occuring nearer the bottom of the mouthpiece, which makes high tessitura playing more efficient. It makes for a shorter vibrating surface-- which are the lips across which the air passes.
Shel -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of David Jewell Sent: Friday, May 20, 2005 8:20 AM To: The Horn List Subject: RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 I am not sure that I understand the reed thing. Could you please explain in more detail where he put the reed, etc? I have not heard of a brass player using a reed on his brass instrument. I have used a reed, but only when I play clarinet or saxophone. Paxmaha Sheldon Kirshner <[EMAIL PROTECTED]> wrote: Hi, Arnold taught that high tessitura playing is done more efficiently with a smaller reed. When he played in our high C range on the tuba, which he did easily, and musically, he used a small reed at the bottom of his mouthpiece--but didn't change his mouthpiece. He taught that in the extreme bass tessitura a large reed will produce relatively more resonant sonorities. And, for example, driving the bass register in the tuba using a small reed produces a more strident sound. He was originally a cornet player, then a trombone player and finally a tuba player. Arnold said that the mouthpiece pressure should be equal on both lips. And I suspect that there are many brass players who have injured their lips in not following that admonition while playing, particularly, in the extreme high tessitura and at great volumes. And, as you say, one should use lots of free flowing air. Shel -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Wendell Rider Sent: Thursday, May 19, 2005 2:07 PM To: Horn-List Subject: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 >message: 4 >date: Wed, 18 May 2005 12:53:00 -0500 >from: "Sheldon Kirshner" >subject: Re: [Hornlist] Embouchure Problem > Arnold Jacobs told me that many fine brass players have unorthodox >embouchures. > >Shel Hi, Arnold Jacobs told me the same thing and I remember him sitting there with a horn mouthpiece and putting it on his lips in different places and buzzing away. Of course he got notes out because his lips were lined up nicely and he could buzz very well without a mouthpiece, even though he discouraged that. He even had me play while I was sucking in on the horn. This was to show that blowing hard really isn't that important- you can play just as loud sucking in as blowing out. Anyway, if there was one issue I would have with Jake if he were still around, it would be that it doesn't matter where you set the mouthpiece as long as you have your air right. This is probably 100% right on Tuba because basically you stick the mouthpiece under your nose and blow. Its not going anywhere. Trombone is close to that. Trumpet you can always favor the upper register, although I would say that many modern players are playing with what is closer to horn embouchure placement than ever before. The horn is basically a Bass Trombone with a different bore and a small mouthpiece that plays in the trumpet range much of the time. An eighth inch of setting difference can mean the difference between success and failure. We have so much range to cover. The of success of any "unorthodox" embouchure can only be measured by the ability to control the beast in all registers and dynamics. Hey, if it works, it works. Define "works". Phil Farkas once told me that when he wrote in his book that there WAS a fundamental playing position for the horn, back in the 50s this was big news, that he had stated that 95% of great players had certain things in common. He said that ever since then, he had been deluged by people, looking for help, who were convinced they were the other 5%. In fact he told me that whenever one writes something like "99% of the time this is true", people reading that are going to be thinking, "I'm that 1%". I was one of those people. I was wrong. This and other topics will be great grist for the mill at Tuscaloosa, where you are welcome to my exhibit and ongoing therapy session. Wendell Rider For info about my book, "Real World Horn Playing", and the summer seminar, please visit my website at www.wendellworld.com _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/skirshner%40ameritech.net _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com --------------------------------- Do you Yahoo!? Yahoo! Small Business - Try our new resources site! _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/skirshner%40ameritech.net _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
