Tips to Improve YOUR Playing, and YOUR Instruments ...............................................................................................................................................................................
This is a Brass Loop. Easy to make and works very well to create the illusion of the "Monette" effect. Dissipating random vibration, and giving a solid core to the sound. Looks a little weird, but can be effective.
See Trumpet Coil at bottom of this page
Most of the material in this section is a product of my life experience with Teachers, Players, and Manufacturers. Of course there is no one way to do anything that applies to all players; but here you can find tips that have worked for me and many others.
I want to give recognition to the men who have contributed greatly to my trumpet ability:
Hubert Rawlin Dr. Harry Begian Les Muncaster Bob Herivel Hanny Orchard Max Wood Stan Morse Paul VonAdam (Adamson) Renold Schilke Robert Nagel Harold Lieberman Chris Jaudes Doc Severinson Bill Pruyn Claude Gordon Bud Brisbois Roy Stevens Cat Anderson Andy Hagan Pete Condoli
Read this little exercise for an insight into my style:
I enjoy fooling around with embouchures. The other day I pushed my lips together and pooched them out; then lay the mouthpiece over them and took a stab at an adulterated Maggio approach. It took a lot of air and some concentration but I was able to play pretty well.
Then I let my lower jaw recede to it's standard under bite. I made my chops into a small circle and buzzed a little until I could buzz 2 octaves without the mouthpiece. Then I took my old Scilke 18 and played for a half hour or so, and I played pretty well.
The next day I stuck my tongue between my teeth and let the top lip vibrate against it. I spit for a while until the ferocious tickling stopped on my top lip. Then I played up and down scales and practiced some high notes. I played pretty well.
Then for a few days I moved my lips and the mouthpiece to as many different positions as possible. I played out the right side, then the left, I even played with a piece of material behind my top teeth to accentuate the overbite, and then the reverse. I played pretty well with these too.
Some of my experiments defied physics and were doomed; but for those that came close to sanity I played pretty well.
By pretty well I mean I could play some Arbans Characteristics, and some jazz duets. I could play up to F's and G's and play pretty as well.
The tone did not vary as much as I would have expected, but the overall comfort level was widely different.
Now all of this may be due to my lip being supple, and trained for 50 years to vibrate. Plus the fact that I have always had a relaxed power with my air.
Every time I switched I started the new set up with my mental focus on the chops themselves, and then gradually moved that focus to the "sound" of whatever I was playing. It was always at this point that things began to correlate with a decent sound.
The point of all this is kind of like the guy who climbs mountains: Why? Because they are there. I have a fascination with the horn because it is there and I love it.
Perhaps this is the defining principle behind quality performers: The love and fascination with the music, the sound,the metal, the power under your fingers to make music. The oneness with the sound that only trumpet provides.
When I find a student with this mindset, I watch them almost teach themselves. The "it" factor for trumpet.
So what if his embouchure looks like a Jim Furyk golf shot. He's relaxed and loving it.
You think trumpet equipment has a lot of combinations to choose from. Try GOLF!
Cat Anderson asked me once if I was making as much money playing the horn as I wanted. I said sure, I'm happy. He said: "Then why improve." This is a foreign concept to me. The same thing with Maurice Murphey's philosophy.
They are each fine players, at opposite ends of the pole - but I believe they are those very rare examples of people who are just built to play.
My oldest daughter is like this with the oboe. She could care less about playing. She never practiced, and yet was offered a sub's seat in the New York Philharmonic.
She owns a PR firm in San Diego, but the San Diego symphony calls her to come play. She doesn't even practice until the rehearsal - that makes up the equivalent of her years practice, and then she goes ahead and plays superbly.
These people drive me crazy! If I had that talent I would l-o-v-e it!
For any system of trumpet performance there are proponents. Especially the one that began it - because that was the way they played. The challenge is to discover what works for your mouth, lungs, and psyche.
These tips will give insight into the hidden things. Once you go there, you can discover your own path to trumpet accomplishment.
This is a Trumpet Coil. Similar to the loop but more intense, and easier to handle.
This is a Brass Loop. Easy to make and works very well to create the illusion of the "Monette" effect. Dissipating random vibration, and giving a solid core to the sound. Looks a little weird, but can be effective.
Most of the material in this section is a product of my life experience with Teachers, Players, and Manufacturers. Of course there is no one way to do anything that applies to all players; but here you can find tips that have worked for me and many others.
This is a Trumpet Coil. Similar to the loop but more intense, and easier to handle.