Im a late(r) TCE Guy ..(which Jerry mentioned in his last TCE BOOK- I’m that Guy from Munich ) And you are absolutely right..they never thought about that -what is(one) the most and absolutely important „must have“..
I think dental structure is a big part of how "easy" it is for youngsters in the beginning. I know a number of guys that stood out in junior high school as having a natural physical ability, but then got braces or other dental work and they lost what ever they had. I know Faddis bristles when anyone suggests his dental structure was the secret of his playing, he always makes the point that he worked very hard to the results. IMO the greats have the natural structure, then work their 10,000 hours to develop it.
my take on this is that young kids are geniuses, they mind are so pure and free that they are incredibly sensitive to what's happening in front of them, some of them can figure out instinctively in an instant what we struggle to understand if they have a good example in front of them. Combine this young free mind and body with the wanting to mimic they're teacher (obiously needs to be a good one) and with the ENORMOUS potential love/passion that a kid can have for music, and there you go, baby genius on the go.
I'm a tuba player just picking up trumpet, and honestly this makes a lot of sense. It seems that I can use roughly the same embouchure and technique that I've been using since day one to play everything from flugelhorn down to contrabass tuba, but cornets are a little different and trumpets are an enigma. I'm used to changing where in the mouthpiece I aim my air to get good tone and range, and it just doesn't work with trumpets. I can play a high C on flugelhorn pretty consistently and with strong tone, but can't get past G on trumpet! That's actually the same pitch as my highest note on tuba! It just doesn't transfer at all; I've got 5 octaves on tuba and 2 on trumpet. But I recently tried TCE, and got a high C with almost no tension at all! It feels terrifying and wrong and I have basically no control over pitch, but it also seems obvious that this is the only way forward with trumpet. (Also how the hell do y'all use those tiny rims. I'm using a Schilke 17D4 and it feels so so narrow. I'm thinking about picking up a 19, actually)
Agree. Mostly they get there intuitively and then to teach they have to try and deconstruct what they do. It's not always easy to do that and then teach it effectively. How many they teach can then replicate what they do?
Im a late(r) TCE Guy ..(which Jerry mentioned in his last TCE BOOK- I’m that Guy from Munich ) And you are absolutely right..they never thought about that -what is(one) the most and absolutely important „must have“..
I think dental structure is a big part of how "easy" it is for youngsters in the beginning. I know a number of guys that stood out in junior high school as having a natural physical ability, but then got braces or other dental work and they lost what ever they had. I know Faddis bristles when anyone suggests his dental structure was the secret of his playing, he always makes the point that he worked very hard to the results. IMO the greats have the natural structure, then work their 10,000 hours to develop it.
This is undoubtedly true as well
I think physiology is certainly part of the equation...
yeah Faddis has classic "trumpet face". Most of the great lead players do, it is what it is...
my take on this is that young kids are geniuses, they mind are so pure and free that they are incredibly sensitive to what's happening in front of them, some of them can figure out instinctively in an instant what we struggle to understand if they have a good example in front of them. Combine this young free mind and body with the wanting to mimic they're teacher (obiously needs to be a good one) and with the ENORMOUS potential love/passion that a kid can have for music, and there you go, baby genius on the go.
Interesting take! I think there could be some truth to this.
I'm a tuba player just picking up trumpet, and honestly this makes a lot of sense. It seems that I can use roughly the same embouchure and technique that I've been using since day one to play everything from flugelhorn down to contrabass tuba, but cornets are a little different and trumpets are an enigma. I'm used to changing where in the mouthpiece I aim my air to get good tone and range, and it just doesn't work with trumpets. I can play a high C on flugelhorn pretty consistently and with strong tone, but can't get past G on trumpet! That's actually the same pitch as my highest note on tuba! It just doesn't transfer at all; I've got 5 octaves on tuba and 2 on trumpet. But I recently tried TCE, and got a high C with almost no tension at all! It feels terrifying and wrong and I have basically no control over pitch, but it also seems obvious that this is the only way forward with trumpet. (Also how the hell do y'all use those tiny rims. I'm using a Schilke 17D4 and it feels so so narrow. I'm thinking about picking up a 19, actually)
Agree. Mostly they get there intuitively and then to teach they have to try and deconstruct what they do. It's not always easy to do that and then teach it effectively. How many they teach can then replicate what they do?