"A new definition for embouchure is the process needed to adjust the amount, pressure, and direction of the air flow (generated by the breath support) as it travels through the mouth cavity and between the lips, by the position and/or movements of the tongue, teeth, jaws,cheeks, and lips, to produce a tone in a wind instrument."
Maybe I'm overlooking something but . . what's new about this?
The more I read, the more specificity I lose. Just a Yes or No, please. Is the Stevens-Costello a rolled-in embouchure?
"This might sound snarky (not meant to be) but if this system is the Holy Grail or range development, why isn't it being used, why is it mostly unknown even though its decades old?"
@Dr-Mark said in Perfect Pitch:
@Kehaulani said in Perfect Pitch:
I'm surprised about the person who worked in a recording studio who had perfect pitch.
She has two Grammys under her belt and performs (sax) with the likes of Eric Marienthal and Wayne Bergeron. She's the real thing.
Mindy Abair?
Regarding pitch environments, I've said this before but can't remember if it was here, so . .
I once said to a friend of mine who played in the Philadelphia Orchestra, "How do you guys play so well in tune?" "We don't", he said."We play out of tune, together".
@barliman2001 said in Happy Birthday Herbert von Karajan:
Composer? Conductor!
I'm not aware of von Karajan as a composer. As a conductor he may be a little over rated, and I say that because his PR savvy may have elevated his conducting beyond what it actually was. But he was an excellent conductor, nevertheless. I particularly enjoyed his performances of 20th C. music.
Learning perfect pitch is, by definition, an oxymoron.
I'm surprised about the person who worked in a recording studio who had perfect pitch. I knew of a guy who had perfect pitch who could only play C instruments because he couldn't reconcile playing a written note that sounded different from the true pitch (transposing instruments). Hearing pitches that weren't true drove him so crazy, he got out of music altogether.
Relative pitch can, however, be trained. When I was working in D.C., I worked with another composer/arranger and we used to get together and one would play on the piano and the other would write down what he played and this extended to atonal music. To the best of my memory, neither of us made any mistakes.
I found the relationship between colour and pitch, interesting, though. Once in a class at the Honolulu Academy of Arts, I was painting an abstract and felt this presence over my shoulder. I looked and it was my teacher. "Are you a composer?" he asked. "Yes, how could you tell?" "From your use of colours". Hmm.
I have never sought the super ranges. My role models probably kept things at Double F if not lower. One of my favorite players is Chet Baker. He usually keeps things below a High C, and that only on occasion. OTOH, Jon Faddis plays most of his solos in the upper register. To me his solos are boring and overuse the upper register.
But, and not to belabor it, being able to have control over the upper register means security on your notes below that and is liberating. It means that, although you don't have to use it, you have all the tools you might want. I can see it if it's for security.
I can't see it if the main goal is just to be the baddest dude on the block, especially if it's done at the ignoring of other needed techniques.
@Sound-Advice said in Lifetime quest finally paying off!:
@Kehaulani
. . one of the purposes of UNT has always been to provide as much music related literature as possible.
Are you sure of that? To provide that, considering the copywrite laws are followed in the first place, calls for a lot of labour and manpower hours. And to provide that for free? Where does the money come from? I can easily see them limiting such service to UNT staff, personnel, and alumni. That's a lot of people in and of itself.
Thanks, Mike. The United States Army Band Pershing’s Own is not in Colorado but at Ft. Meyer, VA. It's considered one of the military premier D.C bands but actually based in Virginia.
ft.Lee, VA.
Unfortunately, I am now more confused.
What's the difference (briefly) between the "Stevens-Costello book Vol. 1, Vol. 2" and "Embouchure Trouble and Self Analysis, or the Stevens-Costello "Fabulous Embouchure Technique"?
http://stevens-costellochops.com/
What band is that? I didn't know that the Army had a band there which had nine trumpets?
Well, best of wishes, man. I hope all goes well and you can bounce back better than eve.
@Dr-GO said in Lifetime quest finally paying off!:
@Sound-Advice said in Lifetime quest finally paying off!:
So to quote Monty Python: I blow my nose at you!
Does the introductory material contain any new or in-depth material? I'm still wondering what it's value is over the original.
Sound Advice - how is he new version different from previous versions?
It didn't drop a fourth. That was a joke. But it did drop a bit and I think that might have been influenced by the horn having less resistance from the sudden absence of junk in it.
(p.s. - That's English for "change in pulmonary airway from aerosolization of growth in the brass". 
)
Bobby Shew tweaked my horn and wrote me back that I needed to do more routine maintenance on it, LOL.
I cleaned out my trumpet once. Green slime came out of it. My range dropped a fourth!