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Further reproduction prohibited without permission.Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.AN ANALYSIS, CLARIFICATION, AND REVALUATION OF DONALD REINHARDT’S PIVOT SYSTEM FOR BRASS INSTRUMENTS by David Ray TurnbullA Research Paper Presented in Partial Fulfillment o f the Requirements for the Degree Doctor o f Musical ArtsARIZONA STATE UNIVERSITY May 2001Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.UMI Number: 3001298®UMIUMI Microform 3001298 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code.Bell & Howell Information and Learning Company 300 North Zeeb Road P.O.

Box 1346 Ann Arbor, Ml Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.AN ANALYSIS, CLARIFICATION, AND REVALUATION OF DONALD REINHARDT’S PIVOT SYSTEM FOR BRASS INSTRUMENTS by David Ray Turnbullhas been approved March 2001. Chairu Supervisory CommitteeACCEPTED:D ^ ^ S th es-u 0 John J. Haynie, “A Cinefluorographic (changed to video) Presentation o f the Physiological Phenomena Influencing Trumpet Performance” (Unpublished research report, North Texas State University, 1967), 2.Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.16 notes. Haynie also concluded that multiple tongue placements differ when the subject is speaking than when he is playing.31 This discussion o f mechanics undoubtedly provided new information to the world o f brass pedagogy. The findings concerning tongue placement are especially important, while the information concerning tracking provides nothing new other than proof that it is an important function o f brass embouchure.

Unfortunately the study includes no observations about mouthpiece placement and dental structure. Admitting that his was not a complete work, Haynie offered it “as a starting point on behalf o f better trumpet pedagogy.”32 Like Haynie, Keith Amstutz studied several aspects o f trumpet playing using photographic techniques. His dissertation, A Videofluorographic Study o f the Teeth Aperture, Instrument Pivot and Tongue Arch and Their Influence on Trumpet Performance, is important for its contribution to instrument pivot tracking. While no conclusions are made regarding the interaction o f teeth aperture and mouthpiece placement, Amstutz does help support the “pivot system” as defined by Reinhardt. He points out that: “during trumpet performance the teeth aperture, instrument pivot, and tongue arch function in a consistent manner and have a direct effect on trumpet performance.”33 In addition, he observes: The predicted tendency for instrument pivot was demonstrated by the performance o f the trumpet players in the research. The angle o f inclination between the face o f the mouthpiece and a line determined by the face o f the lower 31 Haynie, “A Cinefluorographic (changed to video) Presentation.” 32 Haynie, “A Cinefluorographic (changed to video) Presentation.” ' Amstutz, “A Videofluorographic Study,” 36.Reproduced with permission of the copyright owner.

Further reproduction prohibited without permission.17 teeth and the base o f the mandible increases as the pitch ascends and decreases as the pitch descends. The natural instrument placement angle for the middle register ranged from parallel to the line between the teeth and mandible to an inclination o f 21 degrees. The average angle o f inclination was eight degrees.

There was a marked increase in the degree o f pivot in the upper register over that o f the lower register.34 The observation is not surprising, considering that the face o f the front teeth is generally rounded, and that most o f the population has an overbite. Tracking will generally produce a change in the angle o f the instrument. O f interest in the Amstutz study is a subject for whom the instrument pivot was the reverse o f the anticipated tendency. Amstutz failed to resolve the dilemma and eventually ignored it.35 In 1973, another significant study o f the brass embouchure was undertaken by Daryl Gibson. He used X-ray, cinefluorography, radiography, spectrography, and electromyography to investigate physical changes that take place during trumpet performance.

These changes were in the areas o f embouchure, air flow, trumpet angle, and fecial muscle usage.36 After careful analysis, Gibson concluded that: “the hypotheses that there is no measurable embouchure change inside the mouthpiece ring while playing from a Low C to a Double High C can be rejected as a result o f analyzing the data.,”37 Gibson discovered that the lip ratio in the mouthpiece changes depending on the register being played. Furthermore, his measurements o f the change in trumpet angle reinforce Reinhardt’s research, and prove again that a mechanical process takes place in the brass34 Amstutz, “A Videofluorographic Study,” 41.

J5 Amstutz, “A Videofluorographic Study,” 41. Gibson, “A Photographic Study o f Twelve Professional Trumpet Embouchures while Playing from the Low to the Extreme Upper Register” (Ph.D. University o f Minnesota, 1973). 37 Gibson, “A Photographic Study o f Twelve Professional Trumpet Embouchures,” 173.Reproduced with permission of the copyright owner.

Further reproduction prohibited without permission.18embouchure. Gibson, however, does not make any correlation between dental structure and mouthpiece placement One final photographic study is that of Walter Myers.

In his 1979 dissertation he sought to: “compare photographically upper and lower lip inversion o f two contrasting trumpet embouchure techniques, to determine and compare air flow direction as influenced by these embouchure techniques, and to compare graphically the strength of partial tones. As generated by each embouchure system.”38 This study is somewhat confusing because it is difficult to discern the difference between the two embouchure techniques. Myers states that: Two basic embouchure systems appear to have pervaded trumpet performance. One embouchure encouraged more horizontal air flow direction and was characterized and apparently influenced by less upper lip inversion and more upper lip overlap. The other embouchure encouraged downward air flow direction as influenced by less upper lip inversion and more upper lip overlap.39 Both air flow directions are influenced by “less upper lip inversion and more upper lip overlap.” Can this be a misprint? Myers may be trying to further the work done by Robert Weast.

In Brass Performance: An Analytical Text of the Physical Processes, Problems and Technique of Brass, Weast defines and makes more sense out o f two embouchure systems: “The more horizontal air stream uses more upper lip inversion and less upper lip overlap, and the less horizontal air stream uses less upper lip inversion and more upper lip overlap.”4038 Walter J. Myers, “A Photographic, Air Flow Direction, and Sound Spectra Analysis of Two Trumpet Embouchure Techniques” (Doctoral diss., University of Missouri-Kansas City, 1979), ii. 39 Myers, “A Photographic, Air Flow Direction, and Sound Spectra Analysis,” ii. Weast, Brass Performance: An Analytical Text of the Physical Processes, Problems and Technique of Brass (New York: McGinnis and Marx, 1962), 36.Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.19 After clearing up this possible misprint intended to support Weast, the study by Myers seems to shed new light on embouchure mechanics; however, further analysis proves it to be only a comparison o f upstream and downstream embouchures.

Myers observes that “trumpet performers who use more upper lip inversion, and who employ more horizontal air flow direction tend to produce partial tones o f greater strength within the tonal spectra o f selected frequencies and intensities.”41 The reason for this is simple: when the upper lip is inverted, there is more lower lip overlap. This puts more lower lip in the mouthpiece than upper lip, creating an upstream embouchure. This, in turn, means there is less upper lip vibrating in the mouthpiece, resulting in a brighter sound.The Use o f Electromyography to Study Brass Embouchures Two significant studies used an electromyograph to study the brass embouchure. Elmer White and Charles Isley both completed their respective studies in 1972. White’s work sought to determine electromyographic EMG potentials (muscle activity) o f certain fecial muscles as well as mouthpiece pressure used during trumpet performance. Measurements were made during performance in different registers and at different volumes.

Nine advanced and nine beginning players were administered various tests while EMG potentials were measured. There are no surprises in the statistical information,41 Myers, “A Photographic, Air Flow Direction, and Sound Spectra Analysis.” ii.Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.20which confirm that more mouthpiece pressure is used while playing in the high register than in the low register.42 No parallels to Reinhardt’s work can be drawn. Isley used electromyographic kinesiology to study the brass embouchure. Like Amstutz (see pp. 16-17 above), Isley observed movement in the embouchure that supports the “pivot tracking system.” He notes that: “The higher the tone to be played, the nearer the rim o f the mouthpiece the air is to be directed, whether up or down.

In the middle register, the air is directed toward the center o f the mouthpiece.”43 In terms o f mouthpiece placement, Isley draws the following conclusion: “The mouthpiece. Is centered horizontally opposite the largest part o f the incisal aperture the distance between the upper and lower incisors.”44 Isley’s study is, therefore, one o f the first attempts (other than Reinhardt’s) to make some correlation between a player’s teeth and mouthpiece placement.The Instrumentalist: Brass Anthology The Instrumentalist, a publication intended for high school and college band directors, combined all previous articles on the subject o f brass instruments into a book entitled Brass Anthology.

This 1969 anthology contains numerous articles on the brass embouchure, three o f which are particularly germane to this study: Douglas Smith’s “The42 Elmer R. White, “Electromyographic Potentials o f Selected Facial Muscles and Labial Mouthpiece Pressure Measurements in the Embouchure o f Trumpet Players” (Ph.D.

Diss., Columbia University, 1972). 43 Isley, “A Theory o f Brasswind Embouchure,” 134. 44 Isley, “A Theory o f Brasswind Embouchure,” abstract.Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.21Brass Player’s Pivot,” and Vincent Malek’s “Embouchures o f Professional TrumpetComet Players” and “What About Brass Embouchure?” Although Smith does not discuss mouthpiece placement and dental structure, he does address tracking: “.

This motion tracking can be seen in rank beginners as well as in seasoned professionals, and many who do it well know absolutely nothing about it.”45 He goes on to define the “pivot” as “the tendency o f a brass player’s instrument to tilt slightly up or down when he changes registers.”46 This observation is understandable, since the trumpet tends to look as if it is tilting when the mouthpiece and lips track up and down on the face o f the teeth. Two X-ray photographs are included, but they are small and o f extremely poor quality, and prevent careful analysis or conclusion. In ‘Embouchures o f Professional Trumpet-Comet Players,” Malek classifies the embouchures o f fifty-two professional trumpet players according to lip thickness, eveness o f teeth, jaw position, moist versus dry lips, placement o f the mouthpiece, and shaving. The conclusions drawn are very general and no discussion o f mouthpiece placement or tracking takes place.47 Malek’s “What About Brass Embouchure?” is more detailed, and he again analyzes the physical structure o f the lips, teeth, and jaw.

Concerning dental structure he specifically includes the following: Its position the jaw when relaxed determines the occlusion or malocclusion o f the teeth. In dental terminology there are several classes o f jaw45 Douglas Smith, “The Brass Player’s Pivot,” Brass Anthology (Evanston: The Instrumentalist, 1969), 450. 46 Smith, “The Brass Player’s Pivot,” 451. 47 Vincent Malek, “Embouchures o f Professional Trumpet-Comet Players,” Brass Anthology (Evanston: The Instrumentalist, 1969), 163.Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.22 tooth formations. Mainly, they are: (1) Normal: normal jaw recession, regular teeth. (2) Class I, Neutroclusion: normal jaw recession, irregular teeth.

(3) Class H, Distoclusion: marked jaw recession. (4) Class HI, Mesioclusion: protrusion o f the jaw.48 It is interesting that Malek classifies both overbite and underbite but omits even bite altogether.

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In terms o f mouthpiece placement, he makes no unusual observations; his conclusion is simply that: “serious malformations are incompatible. With fine performance on trumpet or comet.”49 Additionally, he draws no significant conclusions on the position o f mouthpiece placement in relation to dental structure, nor does any discussion o f tracking take place.Central and Lateral Incisors Related to Embouchure Some very interesting studies have been conducted by William Pfund who, for the past thirty years, has studied the relationship o f tooth or teeth position to mouthpiece placement. His conclusions in The Trumpeter’s Pedagogical Guide are simply that it is advantageous to center the mouthpiece over a protrusion or overlap o f the central and/or lateral incisors.

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He states that a player should: Locate the center o f the malocclusion that best facilitates playing and always consider the protrusive angle o f the teeth. There must be a protrusion for the lip to vibrate efficiently.

Frequently the lower jaw’s position must be altered to accommodate this. In the case o f two malocclusions in the same jaw select the position that produces the easiest and most natural sound.5048 Vincent Malek, “What About Brass Embouchure?” Brass Anthology (Evanston: The Instrumentalist, 1969), 187-188. 49 Malek, “What About Brass Embouchure?” 188. 50 William A.

Pfund, The Trumpeter’s Pedagogical Guide (Eaton: William A. Pfund, 1992), 20.Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.23 Pfund became interested in this area of study after becoming acquainted with the work of brothers Matthew and Edwin Shiner, both recently deceased.

Professors emeriti at Duquesne University in Pittsburgh, the Shiners conducted research that led them to believe that there was a relationship between tooth formation and success in brass performance. Unfortunately, while none of their research was ever published, their work did stimulate similar research by others, including Richard Giangiulio,51 William Lieberman and Robert Jones,52 and Karl Sievers,33 who worked directly with Pfund.