To the teacher: you are teaching all the right things, possibly excepting the interpretation of Bach, which is another matter. I’m watching and listening as you demonstrate how to get the sound you want, the finality of a phrase, or the steady change of the line. Yes, it all comes from deep. Yes, you must make the whole line sit on top of the airstream, and not reach for low or high notes. Just play them. But there is one missing bit of information that makes worlds of difference, and can save years of erroneous practice. The mouthpiece exercise, when used properly, addresses all these issues. It’s not the thing that teaches phrasing, but it’s the key that unlocks phrasing so that you can teach it. The mouthpiece exercise goes directly to the parts of the body that you are talking about, but it does so in such a way that you can’t do it without getting everything in the right position, pushing the air from deep below, and keeping the airstream steady while you phrase the music. Use the mouthpiece exercise. It gets past all those things that are hidden in what you’re saying and playing, that the uninitiated student cannot understand. I hear you doing those things, but I already know how to do it, so for me it’s just a matter of listening to what you’re saying and understanding what you mean. For other student, however, he literally cannot see or imagine the motions you are doing to control your airstream. Those at the focal point. The mouthpiece exercise allows you to show the student exactly where those things are in the mouth, tongue and throat, without an x-ray machine. You are both brilliant players, and the teacher is someone I wish I could have studied under back in the 1970s when I was learning. (But there was nobody like that, to my knowledge, then) It would have saved me so much time. But I promise you, the mouthpiece exercise is what taught me everything I know about airstream technique, and it’s the key to what you’re trying to accomplish, even if it seems like a detour. Sincerely, Shooshie
Teacher is a great player, but abusive. There is no need for that treatment of the student. Invading his personal space and then slapping his face is outrageous.
Учите английский, товарищи музыканты, не позорьтесь. Я выучил, Жан-Дени Миша выучил (для особо умных поясню, английский не родной язык ему), некоторые мои друзья музыканты как минимум по два иностранных знают (англ. и немецкий) и ничего, не рассыпались. Как вы собираетесь обмениваться опытом или перенимать опыт музыкантов мирового уровня без знания английского? Переводчик - молодец, но некоторые вещи он просто не может передать из-за "сиеминутности" перевода.
To the teacher: you are teaching all the right things, possibly excepting the interpretation of Bach, which is another matter. I’m watching and listening as you demonstrate how to get the sound you want, the finality of a phrase, or the steady change of the line. Yes, it all comes from deep. Yes, you must make the whole line sit on top of the airstream, and not reach for low or high notes. Just play them. But there is one missing bit of information that makes worlds of difference, and can save years of erroneous practice. The mouthpiece exercise, when used properly, addresses all these issues. It’s not the thing that teaches phrasing, but it’s the key that unlocks phrasing so that you can teach it. The mouthpiece exercise goes directly to the parts of the body that you are talking about, but it does so in such a way that you can’t do it without getting everything in the right position, pushing the air from deep below, and keeping the airstream steady while you phrase the music.
Use the mouthpiece exercise. It gets past all those things that are hidden in what you’re saying and playing, that the uninitiated student cannot understand. I hear you doing those things, but I already know how to do it, so for me it’s just a matter of listening to what you’re saying and understanding what you mean. For other student, however, he literally cannot see or imagine the motions you are doing to control your airstream. Those at the focal point. The mouthpiece exercise allows you to show the student exactly where those things are in the mouth, tongue and throat, without an x-ray machine. You are both brilliant players, and the teacher is someone I wish I could have studied under back in the 1970s when I was learning. (But there was nobody like that, to my knowledge, then) It would have saved me so much time. But I promise you, the mouthpiece exercise is what taught me everything I know about airstream technique, and it’s the key to what you’re trying to accomplish, even if it seems like a detour.
Sincerely,
Shooshie
what is the mouthpiece exercise
what is mouthpiece exercise?
ユーモアがありつつも素晴らしい教えだと思います！
ソロで表現の幅は、ブレスの支えの位置を腹筋よりもさらに下に意識して下半身でやる感じですかね。
時には割れそうな音の要素を混ぜることでよりスケールの大きいフレーズにできるんですね！
フレーズについても、音楽の本質的なところに迫った内容だと思います！
そして、マスターはとんでもない身体能力の高さだと思いました。
what kind of book that teaches something like this...plese inform.. thx
23:11
Do you have Mai Class? By the same teacher
Здравствуйте, не могли бы вы назвать произведение которое исполняет парень.
Bach Violin Sonata BWV 1001
Почему маэстро без обуви?
Он всегда без обуви)Это его стиль
Проветривает носки
Hello, does someone know which piece is it ?
Bach Violin Sonata BWV 1001
It’s the final movement (if memory serves) of the Sonata No. 1 for Solo Violin. (From the Partitas and Sonatas for Solo Violin)
C’est quoi le problème aujourd’hui ?
Il n’y a que la performance respiratoire et la vitesse !
Ou est l’âme ,le vibrato ?
hahaha oui oui
At the begining the problem was clearly his relying on effect and exaggeration and a lack of simple elegance.Technically brilliant but...
Языки знать полезно, но предъявлять что-то в таком тоне - не комильфо.
Это не тон , это ультиматум к изучению
Привет какое мундштук играешь и фирма саксофон?
I think that Kovalev use Selmer in all, sometimes use Vandoren in mouthpiece.
Teacher is a great player, but abusive. There is no need for that treatment of the student. Invading his personal space and then slapping his face is outrageous.
Эфектный штрих Маэстро(26+)..
Зато плодотворный)
Этот мастер когда приедет в Россию пусть выучит русский язык
Совсем дурачок?
Мне кажется француз просто завидует)
Учите английский, товарищи музыканты, не позорьтесь. Я выучил, Жан-Дени Миша выучил (для особо умных поясню, английский не родной язык ему), некоторые мои друзья музыканты как минимум по два иностранных знают (англ. и немецкий) и ничего, не рассыпались. Как вы собираетесь обмениваться опытом или перенимать опыт музыкантов мирового уровня без знания английского? Переводчик - молодец, но некоторые вещи он просто не может передать из-за "сиеминутности" перевода.
Думаю и Жану Дени тоже пора начать изучать китайский 😃
Содержание?
Чик-Чирик(( каля- маля ((
Ну парень то хорош?)
Сам с жутким акцентом разговаривает, а ещё что-то там предъявляет насчет языка
Хоспади, как много идиотов в России-матушке.
@@rueazy сам дурак 😎
You need to speak English if you want to be a professional musician internationally. Period.
Это неважно, в иваново и ростове тоже акцент
Так английский не его родной. Интересно как ты говоришь на английском со своим рязанским акцентом?😛