Another of Hall’s favorite Jacobs moments was when Jacobs would have Chris put his hand on Jacobs sternum and stomach areas while Jacobs would breathe deeply to encourage Chris to learn to use both regions of the breathing apparatus…a universal breath rather than a regional breath. Hall remarked at how much more robust Jacobs’ wave was than his own, which was highly instructional. In order to give a visual reference to his sound, Jacobs demonstrated for Chris on Chris’ tuba and instructed him to watch the oscilloscope waves on the monitor in the studio. Jacobs had Hall verbalize “Kee…Kee Hoo…Kee Kee Kee…Hoo.” The use of different vowels – Ahh, Ooh, Uhh – is discussed. Jacobs stopped Chris after about six notes and talked about utilizing more vowel to help develop a better tone. Metropolitan Opera principal tubist, Chris Hall, describes his experiences with Arnold Jacobs both directly and through his teachers, who were also students of Mr. Jacobs worked with Grimm on changing course away from the tight gut, compression battle. Blowing out the candle variation from Jacobs was “bend the flame” rather than blowing out the flame. He taught her to exhale freely from the mouth and then apply that activity to the clarinet. Jacobs’ nuance for Grimm (as a clarinetist) was not that she needed to use massive amounts of air, but it was always about how free the air could be when it gets to the clarinet. It’s important to get air to the front of the mouth (reed). Watching the bag become smaller and larger simulated having a lung outside of the body. Using anthesia bags, spirometers in Jacobs’ studio helped Grimm to realize that she was actually capable breathing more fully AND more freely. She began to realize that how we function as humans was where she should focus, which is what Jacobs did for her. Grimm had previously studied respiration from other teachers but remained very unsure about what was the correct path to pursue. ![]() Jacobs helped to free up her breathing, both the inhalation and exhalation. Imitation – action thoughts rather question thoughts.Ĭhicago freelance clarinetist, and Northwestern University Senior Lecturer of Clarinet, Leslie Grimm, gives insight into her studies with Arnold Jacobs. Playing by the numbers rather than how things should sound. Growing old gracefully in the profession. Make your search in playing focused on excellence, not on obeying rules. ![]() Keep your focus and attention strong while playing. Be an artist from the first note! The brain works on percentages. ![]() Your experience is critical to your art-making and improvement. How do you know if you did it well if you have no concept in your mind as to what is good? It’s really just art. ![]() ‘How good is your imagination today?” You can’t play what you cannot imagine. They returned to the Mahler and when Gamble got to the “D” Jacobs moved his arm which resulted in a visceral improvement in the “D”. Jacobs had Gamble do several other activities for several minutes, often associated with Jacobs unfurling his right arm. Then let the positive outcomes influence/teach the less good aspects of your playing. Put the focus on what you CAN do, not what you cannot. Imitation of others live or in the memory. Gamble said he learned from Jacobs how to put his mind on a positive outcome. Jacobs worked with Gamble to place his attention on the music, to develop new habits. Jacobs didn’t spend much time focusing on the injury, though, but instead had Gamble play music helping him to re-direct his thoughts away from thinking about the injury. Tucson Symphony trombonist, Steve Gamble initially went to Arnold Jacobs to get some assistance with a lip injury.
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