After a good break I found ONE more interesting thing today – and that is a BIG surprise. I have to be very careful now!
So, what I found: I decided to run all the Major scales in the ‘ CLOSED EYES + BCH + “SAGGY EMBOUCHURE” ‘ mode but only up to in the staff E, that’s actually normally is already quite stressful for me.
Now, my own a little silly sounding term I just made up: “SAGGY EMBOUCHURE”. It’s not what you might think though. Nothing actually sags or is overly loose.
Let me explain: normally, when I play I consciously tighten up everywhere and my embouchure is no exception.
When I ran my scales in the “SAGGY EMBOUCHURE” mode today I just set up the basic SHAPE and only concentrated on the BCH breath and PASSIVE RELEASE.
I did everything with CLOSED EYES!
I tried to do almost nothing with my embouchure, well – I still had to keep it intact, otherwise I would leak the air from the mouth corners but that was absolutely minimal effort required to keep the mouth sealed.
So, the SURPRISE part: I was able to reach notes above the middle C with just the same feel I played them in the middle C vicinity. Actually that was rather strange sensation and it’s hard to believe. By the way – the notes were rather well centered and resonant.
However – my embouchure although I could not see it with the closed yese felt more like a Dizzy’s puffed cheeks which is no good. I need to open my eyes next time to see what actually happens.
However I found that it’s quite easy to lose that feeling once something changed and I tried to manipulate it back.
It’s sort of a meditative process that was set-up with the Singing C exercises.
As I noted above – I could not achieve this ease of tone production for the Largo Status exercises I did immediately (but with a break!) after Singing C’s. That’s actually a STRANGE part.
Anyway – that was just a short experiment to check what I could do with this new approach. It worked out this time but I just take it for granted – nothing to celebrate so far.