Lower Lip and more secrets- continued - page 2

Learn to Play  Continued:

With the air hitting the top lip, the jaw goes forward and opens the throat, it relieves pressure on the top lip, it keeps the rim from trapping the top lip against the edges of the top teeth and pinching notes.

Remember - Only the lower jaw moves - it is the rudder that controls tone, pitch and ease of playing. Your teeth must be open to play well - when you roll that bottom lip in you take up space - weaken the corner muscles and anchor depressors - and you assist the dreaded "eee" formation along the length of the tongue. (Your tongue arch is ONLY at the front of your tongue - keep that back down and relaxed!)
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I have discovered that the bottom of the mouthpiece (the section that is inserted in the receiver) is where the money is. The focus or the spread, projection, resistance, can all be established here. The Warburton system of tops and bottoms opens up a new world for those who love their rim, cup, and mass of the top, but are still not happy with the results on a new horn.

If you are in the habit of changing the throat from the stock (usually 27) to a 25 or 26  - wait until you've tried a few bottoms. In the Warburton numbers the 123 are very tite - the 456 gradually open (#5 being the most popular) and the 678 are in Symphonic range - like Schmidt.

Now - If you are playing a Bach and usually use a #25 throat try a stock 27 throat with a #4 Warburton. Or if you play a Schilke horn and want a bigger fatter sound - try a #5 bottom with a 27 throat. Be very careful if you decide to open the throat of a 2 piece mouthpiece, not recommended.

The Q backbore and the K backbores will give you a fatter sound, easier, in the mid and low range. This keeps you from spreading your chops for the lower notes and then not getting a decent set for the upper.

Many players feel like a bigger mouthpiece would help, but can't handle it. If you use a tighter backbore (4, or 1,2,3)you will be able to handle the diameter and the depth of one or two sizes larger.

If you play a Schilke 14A4a for lead, but want a fatter sound, use a 15b with a # 4 backbore.  The 4 is similar to the Reeves 692. If you play a Bach 3C and want to use a 1 1/2 C  use a 4 bottom.

I like to keep my same Rick Baptist Top (by Parke) and have I a collection of Warburton bottoms. For a fatter legit solo sound I use the Q. For lead playing with weaker players - theater - or combo work, I use the 4 - For studio or big band I use the 5.

I also have a Parke Henley bottom that is great for church or solos or very technical work.

              Here are soem more thoughts on Mouthpieces- clik here

Try to develop a fully extended jaw - out and with the entire skull raised slightly above perpindicular to the spine. This allows an open channel from the lungs to the mouthpiece, it also clears the Eustachian tubes of excess air pressure which reduces the clarity and volume of sound the player hears.

It produces the same demonstration of physics in action as does the Chinese Handcuff: The more the force of energy, the more the resistance.

This is vital - as it places the majority of the mechanical workload on the air column floating against the "drape" of the skin and muscles of the face and lips.

Lips in vibration must always resist the air column, not the teeth or the rim, or by flexion both!

Now moving on.. The brass mouthpieces plated with silver are darker timbre - more intact lower partials - than the gold - contrary to popular opinion. The gold also retains warmth.

The Bronze pieces are powerhouses. As you ascend above high C they maintain the same actual dB's and the lower partials as well. I have done play tests showing the waveforms of double C are played on a variety of metals. The Bronze has always shown more consistent volume compared to the lower three octaves, and more importantly many more of the lower partials - giving a rich full sound.

I believe a lead player worth his salt should maintain whatever tonal color he presents throughout the entire tessitura. The hidden result is less work up high for a full sound, and also the elimination of the screaming whistle of a pinched embouchure in the upper register and a blat in the lower.

When I hear Rick Baptist I hear a consistent sound all the way up. It is also a free vibration, a clear open crystal sound. He doesn't get the buzz of a Bach, which is in fact built in turbulence that some perceive as a solid core, but in fact hinders a clear open free vibration.

When you listen to symphonic players you hear a clear open sound from the C trumpet and a large Teutonic mouthpiece with a Schmidt type backbore. These guys a marvelous players, technicians, and have solid endurance - up to a point.

The problem is that only in their dreams could they last through a movie session playing lead.

The reason is what I call "core balance"

Core Balance is the sum total of resistance from the horn, lead pipe, receiver, backbore, throat, cup, rim, and metal.

This produces what I call the "flow"

In the Chicowicz Flow studies, or Adam or whomever else - flow refers to the individual controlling the flow of the air in a natural manner.

In my Flow I mean the Core Balance allowing a natural free vibration to flow from the lungs through the instrument.

These are not the same!

Think about it. The body will unconsciously respond to two things:
1. The unconscious will of the player as he pictures the sound.
2. The deliberate, fixed, immovable resistance of the Core Balance.

To play your best it takes both working symbiotically. When the mind pictures the sound, the body wants to respond, but is met by Core Balance and compromise is attained. This is a one sided compromise. In other words the mind and body agree that they will do the best they can with what they are given: Core balance. CB does not give a hoot how you toot. It is what it is, and it never changes.

You will have to let your performance-based practice take a hike in order to achieve proper CB. You must relax, flow, and breathe into your instrument softly in the low mid register - you know, the notes that "play themselves."

Then you will hear the true sound of your instrument as dictated by the CB and your physical instrument when most relaxed.

Is this the sound you want? Is it clear, open, free, Resonant but not buzzy, centered but not one-dimensional?

Probably not.

Can you imagine playing the entire range of the instrument at all volumes with this same sound and this same level of relaxation (the plays by itself quality)?

Now you begin to analyze. Are my chops comfortable in the cup, is the sound going to be more like I want it if the cup is wider, deeper, shallower, more v shaped, more bowl shaped...

Now you get the picture. Then you move to rim, throat, backbore, lead pipe, bore size, instrument brand. Type of metals.....

This is an expensive and time-consuming process. Those of you living in LA or New York, or Chicago, or Portland, have resources for trying many combinations.

Here is the order I suggest:

Rim
Instrument
Model
Bore and bell size
Plating
Backbore
Throat, Cup

If you play a Bach reverse the 2nd vale slide and play it. Is it more open, clearer but the resistance is different? Do you like the sound better? Then you are not a Bach lover, you are a Schilke, Benge, Yamaha, and some others lover.

Do you play a Schilke, Benge, Yamaha? Then reverse the 2nd valve slide and notice if it adds resistance and creates a  little buzz in your sound. If you like it, you are a Bach player - or now Yamaha has some Bach like models. Schilke says the S series is more geared for bach players, but not in the way I am talking about here.

Next. Remove your second valve bottom cape. Do you like the fact that you can hear your sound more close up now, or not?

If you like it then you are a "spread sound person" You need to change your thinking because this sound does not project. Try miking it from 20 feet with the cap on and off. See how it loses its core. If you don't have a recorder just play into the corner of the room and cup your hand around one ear. The sound that thuds into your ear is the one with the cap on. Imagine how much better the sound carries!

If you want to try out a Schilke but own a Bach and don't have access to one. Get a set of Yamaha, or Schilke bottom valve caps and put them on your Bach - no they won't fit, but they will stick there. If you like the sound and feel better then you are a Schilke.. (Note that the resistance will be stuffier)

OK now for a surprising test.

Play a middle G then ascend one octave and back down at MF. Now rotate your mouthpiece about 10 degrees and do the same. Continue all the way around and make notes of what feels and plays best,

You will find 2 spots - opposite each other. One will play a little darker and feel smooth on your top lip, the other will play a little clearer and feel a little sharper on your top lip. Pick one and stay there. Put the mouthpiece in the same way every time.

Here's another:

Tighten all your top and bottom caps finger tight. Try it . Now loosen them to the point where they are just at the start of holding securely. Try. Which do you prefer? Leave them like this every time you play.

Here's another:

Swap your first and third valve cap bottom. Is it more projecting now but stiffer resistance? Or is it more open and flexible with a little less projection? Choose one and leave it.

Here's more:

Is your open C a different response than a valved note? Maybe stuffier? Then loosen your spit valve nut 1/4 turn. Does the C open up, does the sound get brighter? Experiment until the tension is the way you want it and leave it there.

Now if you ever had Dave Monette build you a horn and then you went back for an adjustment. This is the stuff he was doing in the back room, or when he turned his back to you.

Different weight valve caps, tension here and there, reversing 2nd slides. All these things and more:

Here's one for the timbre of the horn - stuffy sound - apply gentle pressure upwards on the finger hook enough to actually raise it a miniscule amount. To bright - then do the opposite.

Keep your horn clean and the slides greased and firm. The sound is clearer.

I knew one guy that had a bright horn so he poured milk through it every week - it warmed up the sound but stunk to high heavens- UGH!  This is for real - his name was Stewart and he played a Besson Cornet.

Here is a word of warning - When you
 Gold -plate a bronze piece the gold may thicken on the rim in the outer quadrant. This can make a piece seem bigger or more rounded than you expect. If you are spending 2 or 3 hundred dollars on a mouthpiece - make sure you know what the plating will do on an all bronze piece.

I personally recommend you use at least a bronze screw rim instead of an all bronze mothpiece. Then you can experiment with the bronze feel and sound for little cost.

Also a bronze piece will usually work well with a 1 # smaller bottom than you usually play.

More to come…..