Life Liberty and the Pursuit of Trumpet Excellence!
Check
out the new utube videos. I am demonstrating the sounds of Air-Play
with several mouthpieces. It will give you ideas about: Reeves,
Purviance, Loud, Bach, and Warburton.
Now for this weeks' tip.
After you have a handle on the basic Air-Play set up and breathing, you are ready to take it to the next level. 1.
For power and upper register begin to "tell" your cheeks to remain
close to your teeth on the left right and the spot 1/2 inch below the
bottom lip. 2. When you bring the mouthpiece to your lips go ahead
and and bring them together in the center of the open teeth with your
surrounding muscles. I.E. don't use the rim to pull the top lip down
into place. Make sure you do not thin them out. 3. Let your first static sounds (on Short-Cut, or instrument) come in above the staff. 4. Balance these sounds around a central pitch and move them apart in tiny intervals until you are comfortable. 5. For the first 2 or 3 minutes do not go below C in the staff or above C above the staff. 6. Rest often, and repeat the tiny sounds until they feel natural and easy.
Have fun gR
June 25, 2009 This year is promising to open new doors for me in
teaching and performance. This carries a responsibility to be ever
current in my approach to all things including trumpet.
To that end I am seriously working on a valid approach to buzzing as warm up, exercise, and tone development.
The Air-Play system cannot be a ridgid set of rules, it must be both theorem and axiom. For instance: The lips vibrate - fact. How do they vibrate - practice. Sometimes theory does not meet practice.
If
you are a follower of a "method" you often are faced with my way or the
highway! Very legalistic. Teaching the trumpet is is a liberal affair
of the heart.
Desire often produces better results than facts Innate ability often trumps known fact.
Brings
me back to buzzing. I am becoming convinced that some sort of buzz
training is valuable; and to that belief I am, by trial and error,
teaching MYSELF ways to incorporate buzzing into the system of Air-Play.
My
quest has pretty well eliminating "free-buzzing" and moving me into the
concept of artificial restraint on the mouth via a "short-cut" device
called the Short-Cut. This is a short length of tube with a few tone
holes and a miniature bell.
Check in next week and discover how I'm coming along, in an effort to give you the best training available inside Air-Play. gR
June 22,2009
Here is a transcript of two posts made on TPIN.
Roger Ingram has concluded a master class and both he and Nick Drozdoff
have commented. This conversation and notes is very good and I know all
of you will enjoy reading this. If you have not checked out TPIN - make
sure you do TPIN.com
From Nick:
I went to one of Roger's first Master Classes (possibly his first?) a few years ago. Besides the aspects mentioned by Nick and others I wanted to echo, and add to, what Roger wrote about treating different mouthpieces differently. The big things I learned: 1) the differing embouchure setup for the small mouthpiece. Prior to that Master Class (and a subsequent lesson with Roger a week later) I could never play a really shallow mouthpiece. With the lower, more open set (on the red of the bottom lip) it worked, although it took a couple of months before I "got it." The nailed Gs four hours into last night's gig attest to the success of the approach, at least for me. 2) My question to Roger during the Master Class referred to playing "normally." He'd mentioned that he was fine with playing 3rd or 4th on a gig if he was open. I asked if he used the same setup (chops and mouthpiece) and he said no. He was using a Bach mouthpiece (or equivilant) and a "normal" setup. He lip-buzzed just like we teach our students: make a "p" (rolling in a bit) and buzz. This is really important for me, as half my playing is classical, and needs to be at the highest possible level. (Lincoln Portrait, 1812, etc. in two weeks) So, essentially, I have two setups, two sets of equipment and never the twain shall meet.
As Nick said, Roger's approach is that way more trumpeters might be able to play higher with a good sound if they had a different approach (and the proper equipment).
One last thing about mouthpieces: the stock Marcinkiewicz Ingram has a 28 throat, which worked okay for me. Roger's is a 30, and that backs up on me within two minutes. Thanks to a suggestion from Brian Finn (who was at the Master Class with me and plays an Ingram with a 30), I tried an Ingram with a 29 throat, which seems to be the right balance for me. I played all three in front of Doctor Valve and some DePaul trumpeters who were visiting the Doctor that day, and then wasn't any question about which mouthpiece worked best for me.
Joe Lill
Nick,
It was great to see you on Saturday. As usual, you're always supportive of the cause.
Thank you for posting such an in-depth "review" on your website and bringing this post to the attention of the many brass players and musicians who peruse the various trumpet forums. It's always interesting to read the "first hand" interpretations of my lectures from those who have attended
Perhaps I was remiss with explaining one detail regarding aperture -or- perhaps no one asked me about this particular facet wrt aperture control. This seems to be the crux with which you based your review.
I'm sure I DID "go over" in my clinic the fact that I use many different mouthpieces of many different shapes and sizes to make a living as a trumpet player. A couple of these mouthpieces are "large" for me. A couple are "small" for me. I initially set my aperture for a large mouthpiece DIFFERENTLY than I initially set my aperture for a small mouthpiece. I do not ALWAYS employ an open aperture when playing the trumpet. Also, whether I initially set my chops into the mouthpiece with an open aperture or with a small aperture, it needs to be said that depending on how music ascends or descends, the aperture is in constant motion.
As you said in your review, the aperture gets smaller as you ascend. This is VERY true. Given this, it also needs to be said that when playing on a mouthpiece cup that is "small" for a player, I recommend initially setting the aperture in a "more open" position before ascending into the upper register. This enables the player to reap the many benefits from what is considered a "high compression" mouthpiece. In a way, this can be looked at as "keeping the lips out of the way" of the cup.
When initially setting on a mouthpiece that is perhaps "large" for a player, in order to reap the benefits of what THAT mouthpiece has to offer, I always recommend setting the aperture in a tighter position.
Quoting from my book: "Everything has a limit, however. Eventually, upon ascension, lip vibrations stop for everyone. Vibration will stop much sooner when starting from a closed (or tight) aperture position. By starting in an open aperture position, you'll have further to ascend before your vibration limit is reached; when ascending at an equal rate of speed, closing down a large opening takes longer than a small opening, allowing further ascension."
This is particularly true when playing a small cupped mouthpiece.
I just wanted to make it clear that I recommend using the proper aperture adjustment for the equipment being utilized. This helps the player achieve the sound most appropriate for the style of music being performed. Please note: this is NOT to say I ALWAYS recommend using an open aperture. In many cases, I recommend using a tight aperture. For ME, what aperture position I initially start from is ALWAYS mouthpiece dependent.
If a player can accept the idea that the lips vibrate concurrently but separately, this will open MANY doors for them wrt aperture control and adjustment. By realizing that the lips vibrate concurrently but separately, a player "grants themselves freedom" to adjust their aperture however they like. This is the KEY for becoming versatile wrt playing many cup shapes and sizes effectively.
Once again, thank you so much Nick, Roger
_________________ Check out my new book: "Clinical Notes on Trumpet Playing" web: http://www.RogerIngram.com email: Roger@RogerIngram.com wikipedia: http://en.wikipedia.org/wiki/Roger_Ingram
On Roger Ingram's Master Class on June 20, 2009: June 22, 2009
Yesterday
(June 20, 2009) I attended a master class given by Roger Ingram. I
thoroughly enjoyed it. I found Roger to be friendly and kind. He was
eager to share with folks EXACTLY how he did things. It is as though he
wants everyone to be able to do what he can do. His positive attitude
in that regard was wonderful to behold.
In this little news
piece, however, I wanted to comment on some things that struck me as a
trumpeter, teacher, physicist and trumpet-clinician myself.
I
have heard from quite a few folks about something Roger discusses that
differs from my ideas in my clinics. This has bugged me a great deal as
I think I have a good understanding of how things work on trumpet and
like to promulgate the thought that this understanding can help one
play better. I had to see for myself if I was missing something. The
short answer was yes and no.
First, let me address the part that
conflicted with my ideas. I have long been saying that in order to play
the upper register, one must keep the aperture smaller. Roger says with
great emphasis the exact opposite. Now, I need to elaborate a bit on MY
position. In my lectures I ALWAYS address the notion that in playing
loudly the aperture gets bigger. In playing softly the aperture gets
smaller. In playing low notes the aperture gets bigger. In playing high
notes it gets smaller. This is in my power points, too (they're
available for sale here).
Well, I asked Roger to elaborate a bit
on his discussion and he did so deftly and with kind eagerness, again
to his great credit. He showed how he and many west coast lead players
set their chops up by playing VERY softly with a scratchy tone to get
the feel of the high notes facing them. The tone Roger produced was
airy and fuzzy - scratchy (his word). Then all he had to do was "lean
into them" (again, his words) and they would fill out. This he did and
he produced an overwhelmingly loud and clear tone.
What stuck me
in watching Roger do this was that he actually VERIFIED and SUPPORTED
my explanation. When he was playing the scratchy tone in setting his
chops up, the hole was very big. In fact, it was TOO BIG for the soft
volume he was playing at to set his chops up. That's WHY the tone was
scratchy. By leaning into it, he was increasing the air flow and
compression and set the whole aperture into proper vibration and the
sound fills out. I contend that, if he wanted to PLAY those high notes
sotto voce with a piccolo trumpet like clarity, he would HAVE to set
the hole up smaller than he did. However the needs of the moment did
not require that. This thinking was clearly verified in a Wayne
Bergeron clinic I attended almost two years ago. In any case, the ideas
about lower larger, higher smaller, louder larger softer smaller,
completely fit what Roger was describing. In playing a loud high note,
the hole MUST be larger than if you were to play it softly. Roger is
describing exactly what it takes to DO WHAT HE DOES and he explains
very well – well enough so that anyone at his clinic should be able to
go home and start working on his methods.
So, this was the part
I DIDN'T miss. It takes a lot of air to play like this. However, a lot
of air is a complicated thing. Roger also points out that the higher
you play the LESS air it takes. This also squares with my video clips
and discussions about air.
What I did miss by getting some
second hand info was Roger’s explanation of how he sets his chops up
for this. He explained how he uses a French horn set with the
mouthpiece rim set in the red of the lower lip and slightly rolled out
for this big open set. He then sets up scratchy high notes like that
softly. All he has to do at that point is add air (lean into it). It
really works. Now I personally play with my lower lip rolled inward a
bit (Walt Johnson style), so this method feels a bit strange for me,
but it clearly works and should work for some. He explained that this
was how Maynard did things.
I did walk away with something very
important to me about all of this. I refer to squeak tones in my video
lectures. Well, these squeak tones are VERY similar to those scratchy
high notes Roger plays in setting up his form. They have the same
purpose. So something that I hit on by messing around with my chops,
applying ideas I’ve learned over the years, hybridizing Walt Johnson’s
ideas into my methods squares with what Roger Ingram is doing. I take
that as a positive. This is what I hope folks caught onto there. It was
those SCRATCHY tones that Roger was using to set up his chops that
struck me as the mother lode of information for a player looking to
take the “next step!” It would be easy to focus on the aperture thing,
but by using that method he was demonstrating over and over, you can
easily set your chops up to do exactly what he did!
Now, I just
read an email Roger sent to me. He made a very interesting point and I
want to work it in here for further clarification. He did NOT disagree
with me on any partricular issue. He DID want to point out WHY he urges
folks to set up with such an open aperture for the high notes. This is
to facilitate the effective use of the very small high register
mouthpieces. Using this open set allows him (or anyone else for that
matter) to use the smaller, shallower pieces without getting too far
into the mouthpieces. I did not mention that as I tend to have no
problem with the smaller mouthpieces. In fact, I'm in TOTAL agreement
with something Roger said. He said that one should ues the SMALLEST
mouthpiece one can stand given the demands of the music. So, I have
even slipped and done some information filtering based on my point of
view. I hope I've shed some more light on what was discussed.
In
conclusion, I also liked Roger’s open and thoughtful discussion about
mouthpiece switching – using the tool for the job and not worrying
about it. He was also very open and honest about discussing the current
vagaries of the business of jazz trumpet playing and big band lead
playing. He also went into a lot of intersting history of the evolution
of lead trumpet playing. Origianlly, the high note stuff was a
designated hit man on fourth or fifth trumpet and a separate player
laid the style and groove down from the lead chair. With the advent of
Bill Chase, the parts became fused. Roger really fleshes this out
nicely.
I would heartily recommend that folks go hear what Roger
has to say. You can’t help but learn something, but you’ll need an open
mind and you’ll need to stay totally focused.
From: "Roger Ingram" <Roger@RogerIngram.com> Sent: Tuesday, June 16, 2009 7:51 PM To: <tpin@tpin.okcu.edu> Cc: <Vic@RogerIngram.com> Subject: RE: [TPIN] Warming up
I often wonder why there needs to be a debate about something as self evident as the term "warm-up."
The term "warm-up" comes to us from the world of athletics. Like any demanding endeavor, playing the trumpet is a physically strenuous undertaking and should be approached as such. The degree of physical effort needed depends upon what kind of player you are or want to be.
Warming-up means carefully putting attention on a specific part of the body in order to increase blood flow to that area: thus, literally raising the temperature of the muscle or muscles in question. When taking a look at warming-up to play the trumpet, one must think in terms of warming-up and preparing the body FIRST. I start my warm-up before taking my horn out of its case.
Warming up, doing a routine, and practicing are sometimes misunderstood or confused for one another. It needs to be made clear that they are distinctly different. These three actions should be approached individually - with a different goal in mind for each.
Roger
Check out my new book Clinical Notes on Trumpet Playing web: http://www.RogerIngram.com email: Roger@RogerIngram.com wikipedia: http://en.wikipedia.org/wiki/Roger_Ingram
Strength Building June 13, 2009
I often use a variety of mouthpieces to develop facial and core center muscle coordination and strength.
1. A more narrow rim will help me not use too much pressure and focus on the proper air support and set. 2.
A wider rim will teach you to relax and trust the air. It also gives
you a less obstructive platform to practice into the upper range. You
can spend more time "upstairs" and give those muscles a better and
longer workout. 3. A smaller inner diameter will let you focus your sound, develop a smaller aperture, and learn to not over-blow. 4. A larger diameter with a shallow cup will let you work the core real good when you play strong loud and high. 5. A larger diameter with a deeper cup lets you develop your tonal quality. Flexibility, and technique.
This
is a type of practice that is not for young, or beginning players. You
need an established embouchure. You'll have more options for pushing
yourself to the next level by using this and other unique practice
routines.
One more helpful tip is to play a trombone mouthpiece
either into your trumpet - many will just fit - or into a trombone,
baritone, or euphonium. Play for 10 or 5 minutes only, then rest an
hour or so, then return to the trumpet - it has the "swinging two bats"
effect. Opens up your airway, and lossens tight chops.
One last
little bonus is to flap your lips like a horse periodically when you
play. Not a tight buzz - just a flapping. Stimulates the blood supply
and is refreshing. have fun gR
Facial buoyancy 6.6.09
Some of you experience muscle fatigue every time you play. Others less often, and others not much ever. Here is what happens: When your chops react to the will to play a note they react from a static to a dynamic state. If
you get ahead of yourself you will tighten, push, roll, bunch -
whatever you do - prematurely. When you do this you generally will
apply much more tension than you really need, and then if the next note
is a skip down, or a soft note - you will often have a "cuff."
It is important to practice "target shooting" in a slow methodical manner. For instance: 1. Breathe in 2. note concieved 3. air released 4. Chops react 5. Remove mouthpiece and repeat.
When you do these use a full exhalation and let the note die as you run out of air - but remain relaxed.
Gradually
move up the scale and repeat - but focus on keeping the sound the same
- same volume, same sound, same projection, and same overtones.
Make sure you do not preset - HOWEVER:
Tell
your chops consciously to maintain a 360 degree "seal" around the
mouthpiece rim. This seal will float on the air = but must not ever be
pre- or over-set.When you release the note with the air let the seal
remain but not remain flexed. Discover the proper grip on the rim to keep the 360 feel without ANY excess tension.
This
is difficult to learn and those of your doing Air- Play will find that
it is a real difficult exercise to learn correctly - You have been
focused on the top and bottom lips touching in the center, and up to
now you have not been faced with the "seal" concept all the way around.
It is easy to do as long as you read the next paragraphs and get the
picture in your mind.
This will really help those of you classically inclined.
-
Then when you blow the note it will be stimulated by tour awareness of
the note and the awareness of the breath pushing against it.
You use the pencil to practice this, and note how the chops want tosurround the pencil as you breathe the air. It
takes some work to get used to using a haaaah type air through your
core and yet allowing it to focus through a oohh seal around the
mouthpiece - The only time this fails is when you try to "say" haaaah
and oohh at the same time. Just let the "shape" happen and not the
vowell sounds.
Root third fifth exersices in half notes at forte are good for this exercise. Have fum. gR
May 25,2009 Power-Play
When I studied with Mr.
Schilke he had me buzz a middle G and then bring the mouthpiece to my
lips and play it on the horn without stopping the buzz. Then the
reverse - play G on the horn and slowly pull the mouthpiece away whilst
continuing to maintain the G buzz. Then up through my entire range.
During
that period of about five years he would gradually increase the size of
the mouthpiece. Starting with a Schilke 12 then 15, 18, 20 ,22, and 24.
He always put the Schmidt backbore in them and he always cut them
himself.
Another progression was to start me on the B1 Trumpet, then B3, then X3, Then through a progression of bells on the X3.
At the time I last met with him he was planning the 27 mouthpiece for me!
My
purpose for giving you this is to say that I was playing 5 to 10 shows
per day and developed incredible wind. My lips remained puffed and the
increase in sizes was a direct compensation for the lip swelling.
This
was in my opinion the symphonic approach to lead playing. The sound
huge, and the equipment as well. Not what we hear as a true lead sound,
but a unique metamorphosis. In some ways I believe Mr. Schilke was
working from his frame of reference - symphonic playing. Arturo
Sandoval has a similar characteristic. He was early on playing the X3
It was through this period that I learned really how to breath, and blow the trumpet.
Now
I teach and use a different approach as these pages attest. I use the
same air power as then but with an Air-Play embouchure.
It
dawned on me the other day that I really have not communicated the
power of the air, and how developing that power is not being taught by
many teachers.
I call it the old school blow. Some say "Hit it hard and wish it well" Others call it a wedge, or a yoga thing.
Funny
thing is that a YouTube clip of some crazy Brits trying to break a wine
glass with a flugelhorn:) Is what me started thinking about this. Very
funny clip: http://www.youtube.com/watch?v=4aG4Zw7HSxw
So
here is my plan: I am going to produce a second DVD called Power-Play.
This is going to be The Definitive old school, blood and guts, HLC - CG
- MF - blow the walls down Air POWER Builder. Then I am showing you
how that power is directly applicable to an AIR-PLAY embouchure.
Here we go .........
This week's tip: Find a mouthpiece that is giant - and deep (Bach 1 - Schilke 22 - flugel horn mouthpiece).
Play
softly a bottom line F# and crescendo up to FF and back down. Start
with a count of 4sec < then 4 sec>, work your way up to 10
sec< 10 sec>. Move the air through the horn without blasting or
pushing outwards at your gut. Repeat this for about 3 minutes. Try
using all your air and then quiet down to the point where you run out
of air and then keep blowing until you get woozy, but relaxed.
If the Low F# is too stuffy - move up to the next note you can complete the exercise with.
Now rest a while and go back to your regular mouthpiece to practice or play.
DO NOT OVERDO THIS!
June 4,2009
Where do you practice?
If you have to say -
anywhere I can, then you get an A for effort. I'm not sure how the %age
of improvement compares to if you played in a trumpet friendly
environment though.
Here is what to look for: 1. Peace 2. 72 degrees - or comfortable 3. nice straight chair 4. Spit collector on the floor 5. microphone and recorder 6. real music stand - not a piece of music propped up with two pillows 7. A little ring to the room - about a second or so 8. If you can, a 10 foot ceiling 9. Good lighting 10. CD - Mp3 player with headphones 11. Ear plugs - for when you want to work on those lead parts without over blowing 12. Patience 13. Herbert L. Clarke's technical Studies ;)
If I did not have the majority of these I would go to the local church and borrow a room. It's that important
