Of course, *MUSIC* is what this is all about...any pedagogist will tell you that the end is what necessitates the means...
If trumpeters were all completely intuitive, then the *think* system, as so avidly practiced by the mythical Professor Harold Hill, would be the only system necessary to be able to play like Roy Eldridge, Dizzy Gillespie, Timofey Dokshitzer, Maurice Andre, etc...
But reality, unfortunately, intrudes...the reason I've had to analyze is that I've had students who weren't able to *make the connection* between what they've heard and what they needed or wanted to produce...
Thankfully, I've also had pupils who were blessed with the ability to play nearly anything once they'd heard it...but I can't say that they were typical...
Personally, I try to make a point of listening, not only to other trumpeters, but to many different types of muscians and music...and have played everything from symphonic to reggae....
If I've erred on the level
of over-analysis for those of the members of this list who are capable
of acheiving results without others' advice and experience, mea culpa...but
the responses I've received tend to show the converse to be true...many
of the members of this list are *amateurs*(consider the root of that word,
which is *to love*--not a bad
place to start8^)) and appreciate hearing about different ways to explain the phenomena of trumpet laying / embouchure / or what have you....
The bottom line, Force, is that we're all in this for the music, and anything we do, say, think, feel, or anything we choose to play on , be it a particular horn, mouthpiece, mute or whatever is merely a tool to assist us in expressing the music which lives in our hearts and souls and begs for the release of performance...
At 03:53 PM 11/20/97 -0500, you wrote:
>IMHO, too much thought, and not enough music makes for unmusical players
>You have put alot of serious thought into this, but this aint brain surgery.
> It's just music, plain and simple
>When I was at Eastman, countless times, Charlie Geyer would answer one of my
>questions by saying, "I could tell you what works for me, but it may be
>totally wrong for you. I figured it out in the practice room, and I expect
>you to do the same. Just strive for that sound!!" When I asked Bill Adam in
>a lesson about tonging in the high register, he gave his patented chuckle and
>said, "OooKaaay, well, lets think more about the sound we're shooting for."
>If these 2 guys don't have the "answers", I don't think anyone has!!!