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Re: Jacobs embouchure picture

Postby bloke » Fri Jul 14, 2017 4:12 pm

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Re: Jacobs embouchure picture

Postby brianf » Sat Jul 15, 2017 4:49 pm

How about this one??

embouchure 12 (3).jpg
embouchure 12 (3).jpg (29.54 KiB) Viewed 568 times
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Re: Jacobs embouchure picture

Postby royjohn » Sat Jul 15, 2017 5:07 pm

That last one is his secret high note embouchure.
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Re: Jacobs embouchure picture

Postby tuben » Sun Jul 16, 2017 7:46 am

brianf wrote:How about this one??
Image


Robert Tucci wrote:Arnold Jacobs often said that the embouchure was the result of the demands placed upon it.


Proof positive.
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Re: Jacobs embouchure picture

Postby nworbekim » Sun Jul 16, 2017 10:23 am

aaaahhhhh, he has facial hair..... :wink:
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Re: Jacobs embouchure picture

Postby dantetuba » Mon Jul 17, 2017 8:02 am

:D perfect!!!!

Thanks a lot guys...

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Re: Jacobs embouchure picture

Postby Alex C » Mon Jul 17, 2017 10:12 am

Can you imagine correcting the embouchure of a student who plays like that? Yet, many teachers would do just that and probably ruin a student or two along the way.

Mr. Jacobs always taught for functionality to make music. If there was something the student could not do, find a way to fix the problem, always concentrating on the functional goal. Very few things were ever broken down into "mechanical" issues. A style of teaching lost for the most part.
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Re: Jacobs embouchure picture

Postby MaryAnn » Mon Jul 17, 2017 2:00 pm

Guess what? His secret high range embouchure, if that is not a joke, is exactly what I do. Whodathunkit? Only way I can get my lips to vibrate high is to have "less lip"...and this applies to all brasses. I don't know how other people do it, but simple rolling has not yet got me there.
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Re: Jacobs embouchure picture

Postby bloke » Mon Jul 17, 2017 6:11 pm

Other brass instruments feature high ranges, but there is no high range with the tuba..."making a fart sound with your lips on an F or Bb above middle c"...seriously...??
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Re: Jacobs embouchure picture

Postby hrender » Mon Jul 17, 2017 6:17 pm

I've been struggling to remember where I heard it, but regarding Mr. Jacobs' embouchure as pictured in the Farkas book (which I bought back in '79), I recall someone said, "He gets a helluva sound even though his embouchure looks like someone hit him in the face with a hatchet."
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Re: Jacobs embouchure picture

Postby timothy42b » Sat Jul 22, 2017 7:57 am

Alex C wrote:
Mr. Jacobs always taught for functionality to make music. If there was something the student could not do, find a way to fix the problem, always concentrating on the functional goal. Very few things were ever broken down into "mechanical" issues. .


I'm not sure how true that really is, though.

We tend to see what fits our preconceived notions.

I had always thought Jacobs taught only "song and wind." But I watched one of his youtube videos, and I was startled to see him addressing mechanics. I didn't know he did that.

Probably he used a functional approach with students who needed it, and a different approach with others. I'm just guessing, never met him. Most students do better functionally, especially the naturals, who are what he's more likely to have seen at his level. Others don't.
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Re: Jacobs embouchure picture

Postby happyroman » Sat Jul 22, 2017 10:22 am

timothy42b wrote:
Alex C wrote:
Mr. Jacobs always taught for functionality to make music. If there was something the student could not do, find a way to fix the problem, always concentrating on the functional goal. Very few things were ever broken down into "mechanical" issues. .


I'm not sure how true that really is, though.

We tend to see what fits our preconceived notions.

I had always thought Jacobs taught only "song and wind." But I watched one of his youtube videos, and I was startled to see him addressing mechanics. I didn't know he did that.

Probably he used a functional approach with students who needed it, and a different approach with others. I'm just guessing, never met him. Most students do better functionally, especially the naturals, who are what he's more likely to have seen at his level. Others don't.


Jacobs treated every student as an individual, so his approach with one student may differ substantially from his approach with another. This is why there is no true "Jacobs Method" and probably why he never wrote an instruction book. But, if you read the various books that have been written about him and his teaching methods, you can glean some insight into his overarching concepts, which can be summarized as "Song and Wind."

Another excellent resource into his teaching methods are the interview videos that Mike Grose has posted on his YouTube site, TubaPeopleTV. He has interviewed over 100 Jacobs students about their experiences in Jacobs' studio, and while there are many differences, there are definitely many similarities in his approach.

You mention that you watched one video and were startled to see that he was "addressing mechanics." I would be interested to know which video you watched so I can understand what you mean by mechanics.

In many masterclass situations, he would identify that the student was doing something prejudicial with his breathing, limiting his ability to produce the song aspect. In those situations, he would often exercise the student in order to free up the breathing process, many times using some of his homemade breathing devices. But even then, he was having the student focus on the goal and not on the muscles. He wanted the student to focus on moving large quantities of air in and out of the mouth while their attention was on a ball in a tube or a needle on a gauge.

At any rate, the mental focus of singing in the head while playing was absolutely the most important thing he wanted the student to do.

Finally, these comments about Jacobs are not based on preconceived notions, but rather on my personal experiences in Mr. Jacobs studio. I'm pretty sure that goes for Alex, too. Correct me if I am wrong, but I believe that Alex also studied with Jacobs personally.
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