Sit in the middle of the chair and bring the back away from the chair an inch or so at the rear end. Imagine a string running from the top center of your head down to the floor. Now pull that string up bringing the entire backbone with it.
Your shoulders need to be relaxed but in the same plane. Let them fall. Do you now have a little relaxation at the belt-line on your back? Good.
Lift your shoulders up and down with your elbows touching your sides.Straight up and drop and repeat. Is your body still away from the back of the chair? Good.
Now inhale and raise your shoulders up then exhale and let the shoulders fall. Next raise your elbows up and away from your torso to a 20 degree angle.. Now repeat the inhale with the elbows up and the shoulders rising as you inhale. Exhale and lewt the shoulders fall but the elbows just relax without falling.
Now repeat the last command and focus on the tongue being warm and falling down at the back as you exhale. Good.
Now do the last command and raise your chin. Did it creat tension? Now repeat and lower the chin - did it create tension?
Adjust the chin angle to the position that gives you the greatest relaxation as you exhale. Good.
Now hold your trumpet in your lap, lift it slowly to your lips and at the same time inhale let the shoulders rise a bit with the elbows at the 20 degree angle. Time the lifting and placement of the horn to occur in one smooth motion.
Use a count to time the flow up, in, out and stop.
begin the inhale with raise horn on 1-2 touch to lips on 3 release the note and the shoulders on 1.
You have now timed the complete cycle to 3 beats, as in 3/4 time. 1-2-3-play,
The body coils up -sets and releases altogether. This process of tension and release will give you a flow to your attack, power that is released through relaxation not tension.
Next is the sustain of the tone. As you release the note continue to expel the air at the rate and force necessary to the phrase you will play. Continue each note of the phrase from that first release of air and see it move out into sound on a continuous stream__________________
Carry the stream throughout the stream and if you move up down soft loud tongue slur - it is all "touching" that original release of energy and air.
It is good to precede the exercise with the leadpipe drills explained below.
Release not push - continue the flow - let the sound be born not forced. You will see how much it improves every portion of your playing:) gR
New service!
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Email me hereand then purchase the Video response in the shopping page:)
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Playing Scales IS FUN!
I always taught my beginners the chromatic scale first. That way they're not learning "new" notes after playing a few months. They have seen them before and are not unfamiliar with the fingerings.
I suggest your learn any new scale in tetrachords i.e. CDEF up and down over and over then GABC repeat. Then put the two 4 note segments together. I also want them to memorize the first 4 and stop looking at the page, then the same with the next 4. When you put the whole scale together it's from memory and you can train your motor memory and your fingers will become automatic quicker.
Next with scales you need to play them from each step up and down in a systematic routine. i.e. CDEFGABC and down, then DEFGABCD up and down, then EFGABCDEFG and so on. This gets your mind and fingers in touch with note only the scale of C but the feel of the entire scale starting on any note.
I challenge my students to master a scale each week. By master I mean to play up and down without stumbling starting on any note of that scale up and octave and then back down. The exercise is akin to learning where your classroom is in the school as opposed to learning where all the rooms in the school are. When you know each scale starting from any note in the scale you are actually living in that scale and your ability to see patterns is greatly increased.
Are you using a squirt gun, a garden hose , or a fire hose to blast that air? Use this with the tip right below this one!
Improper "channelling" of your air will prevent you from making ANY improvement! There are 3 control points you must have nailed down to make it right. 1. The Air delivery system 2. The nozzle 3. The target/ release zone.
The single best exercise to do for developing the feel of all 3 control points is playing through the lead pipe with a comfortable relaxed air column.
Play a F 1st space to hear the pitch. Remove the tuning slide and hear the F then play it through the open tube.
The sound needs to be round, fat and stable. Hold it at least 15 seconds at a good forte. Next play that F and let the note SLIDE downwards for an octave slowly. Keep the sound the same. Repeat this at least 3 times.
Replace the slide and play an F - Immediately you will notice how much more cantered and FAT the sound is! Now play a downwards arpeggio F-C-A then back up to C-F. Repeat this 3 times and keep the flow, sound and feeling as with the slide out.
Next remove the slide and play that F making sure to get a good full relaxed sound. Now add air and let your tongue flip you up an octave. Now flip the same octave and keep the sound the same volume on both notes. When you flip the octave your air increases the front half of the tongue raises like a whistle, and you must "feel" the vibration move from the back side of the aperture tunnel that is more to the back or inside of your lips - to the front or more outer side of the lips as it goes up.
This movement of the vibration point from inside to outside means your chops are mechanically optimized for up and down. Now put the slide in and notice how this simple exercise has opened your mind to how the air and chops are easily controlled by the simple memory of the acxtion with the slide out.
Do this every day and if you feel your chops deviating from the mechanics repeat the exercise.
Remove the tuning slide and place your AirPlay embouchure to the mouthpiece. Breath a long medium loud sound at a comfortable pitch at the bottom of the staff. Using your body and mind move that pitch slowly down in a slide to an octave lower and back up in one breath. Now use the valves and play the same exercise locking in the chromatic notes with your body mind and fingerings. It makes no difference which set of one octave fingers you choose. It's the mind body relationship that causes the notes to feel as if the valves are actually working.
After going through the exercise 5 or 6 times put the slide back in and play a descending, ascending chromatic scale from low C to middle C. Notice that the pitches are more secure and there is less pressure on your mouthpiece. Imagine playing with the slide out as you do this and see that this REALLY helps you in keeping that top lip down against the lower.
When you have done this for a ferw days experiment with the next octave up. At first the notes will only descend a fourth or a fifth before popping down to the octave. By using your air power and controlling your aperture you can get it down a step or two more. In a week or two you should be able to manage the entire octave down and back up. This takes tremendous control and concentration. The value is that you are able to keep your chops together and train that top lip to stay down at the same time you are strengthening the whole embouchure.
Your tone, pitch, flexibility, and control benefit from the workouts.
gR
How to tell if it's the horn or you!
Several students have told me that they need another horn, a step up horn, or a professional horn. Some professionals "need" new horns to help range or endurance or flexibility etc.
Before you get another horn make sure you aren't wasting your money to only encounter the same issues.
If you have tried someone's horn or mouthpiece and it felt better that really means very little. It takes a few weeks to settle into a new horn.
What I am giving you is not the end all be all but it is a good plan as you consider your options. 1. Have the horn checked out for problems like loss of compression, leaks. 2. Clean your horn regularly 3. Take off the valve caps and see if makes a difference without them 4. Take a 1 inch long 1/4' wide piece of thin paper and wrap around almost all the way of your mouthpiece shank. This makes the mouthpiece insertion a tiny bit less. Does that help. 5. Hold your spit keys tightly and play - is it better 6. Take 2 days off and see if you are just overplaying.
If most of these help - say 4 of 6 then chances your horn needs some tweaking, but is fine. If not then perhaps you should start looking, but only after a reputable teacher gives you a chop check to make sure you have not fallen into bad habits.
If you want your horn tweaked go to the shopping page and for 100 bucks I'll optimize it for you. Good luck - Work harder and not smarter always leads to problems. hard work done correctly and smartly and you can succeed! gR
About Musical Playing
I spend hours a day playing pretty lines and songs. Letting myself just disappear into the notes and sing from my heart. I need no audience other than myself , my wife sleeping in the next room, and of course God:)
You may be a beginner or advanced, but if you don't take the time to play from your heart you miss the best part of playing the trumpet.
Start with a phrase and sing it in your mind. Take your time and don't tap your foot. Let the music just come out. Let it speak to you first and it will speak to others. Don't worry about tempo, key, or being perfect. Let it happen within the context of your abilities. Don't sneak in a lick or phrase you might mess up - cause then you start perfecting, and lose the point of the moment.
I meet a lot of people that have dared never to play by ear, they must have the notes and the tempo, and the phrasing all lain out. Even if it is five or six notes that flow together and please you - play them and enjoy them. If you can't hear them and then match the pitch, play some experimental melodies, and then you suprise yourself.
Never give up making nice music for yourself ! gR
READ THIS !
SET POINT AND ANCHOR POINT EXPLAINED.
I use the terms anchor point and set point. What I really mean is that the anchor is a place below my bottom lip where the mouthpiece cannot move inwards by pushing my jaw back. It's a in and out fixer. The lower lip is not trapped and in fact during a quick breath the lower lip watches in surprise as the rim moves slightly away from him:)
Most people think of that anchor as where the mouthpiece rests and remains, and always has some serious pressure keeping it glued.
I use the place just above the top lip bordering on the red to set my mouthpiece, and that;s where the horn kind of hangs from, if you will. Because the 2 front teeth are usually a bit forward and the next a bit recessed the rim just sits on that little shelf and any weight there is on the white and Not on the red lip itself.
This place never moves (I can't remember the last time somebody's upper teeth floated in and out:) - and by itself it acts as a ligature keeping the top lip down in the air column and allowing very slight vertical angle changes to inact more or less of the "aperture tunnel" to vibrate.
When descending The anchor below keeps the jaw from roaming more open, and when ascending that anchor keeps the jaw from closing very much and especially keeps it from swinging back and closed on it's natural arc.
At the same time the set point just above the top lip is simply a shelf that keeps my top lip from sliding up to a point where it is no longer allowing the meat to vibrate freely due to being wedged between the rim and the teeth. (I find it a common habit for students to snear slightly just as they set the rim on their lips and trap that top lip.
When I descend it allows just a bit more of the meat to relax by a very slight upward angling of the bell vertically. When I ascend the set point receives just a bit of a very slight downward angle of the bell keeping that meat exposed to the vibrating surface, and I admit a very tiny bit of increase in compression that is balanced by the air pressure on the inside of the lips and cheeks.
This is where my optimum efficiency is maintained, allowing just a conversational breath to play the horn. I often breath so softly that a very tiny whistle sneaks out like a bubble balancing on the lip. When I get that; I sustain that! , and often "think" that tiny whispering whistle up and down. In later years I have it so "in the zone" that I can often play little simple melodies with it.
These little whistles are what the Costello "climbs" all began with. Unfortunately - or fortunately depending on how you understand it, guys began moving right from that tiny whistle right into a fuller sound by a slight lean on the air column and these little guys morphed into sirens that ascended into the stratosphere and became the trade mark of the system.
As you can see I have opened a can of worms here by "spilling the beans, or should I say the worms?" but for those that can dedicate the mental focus and relaxation there is a new world of playing available to them. But for most who have read this far it is like the proverbial "speaking in tongues." So if you are intrigued buy the AirPlay download. TODAY!
New Wine in Old Skins?
Sounds strange applied to trumpet, but the fact is that as we all age the skin casing around the orbicularis oris - lip - is getting thinner and sags more. What that means is that for older players the top lip setting on the rim has to change very slightly to compensate.
I preach the fact that the top lip is the primary vibrating surface. It is wonderfully made with that strong little piece of "meat" that can withstand hours of vibrating for our pleasure and amazement. We AirPlay users always keep that valuable real estate down below the top teeth edges in order to expose it directly to the air.
We let the rim sit just above that red and any pressure is displaced to the top teeth and not the lip itself. The meat of the red is slightly compressed and creates a nice little pillow for the vibrating surface.
As we age the skin thins and stretches and we find that just keeping the top lip down alone is not as good as it once was.
The answer is to locate the "meat" inside that skin with your finger and roll it up and down against your teeth to see just how much stretching skin is now hanging below that little tube of "meat."
If we have been getting more air and hiss, and less flexibility; it's because this meat has been displaced up to the teeth edges and the stretched skin has remained down in the air path. This gives no real stability and substance to that air exposed skin and we suffer for it.
So older players MUST make sure that when the rim is placed above the red they are actually pulling not only the skin down, but are actually moving that meat down below the teeth edges.
This is the number one issue with aging and trumpet performance: Skin stretching and thinning.
When we pull the meat down the stretched skin has to go somewhere and it slips up above the meat, with the result being we MAY need to actually place the rim ON that thinned and stretched skin that is ABOVE the meat. This makes sure we still have that nice pillow vibrating.
This is very strange thinking for younger folks whose lips are firm and supple, now just wait until you are reaching the golden years:)
For more detailed help with the effects of age on our playing please set up a Skype consultation at the shopping page.
If you have noticed Doc's chops in the latter years you will see much more defined the lines are where the rim is against his lips. The mouthpiece placement is almost down to the red. This is how he and we older players compensate and keep the music coming until we join Gabriel's Big Band:)
gR
How do you squeeze your toothpaste tube?
The air column is never static - it is always in motion during the act of playing. It does not become static between notes, it most constantly supply the front of face and muscles with a force of proper strength for the note(s) being played. Even when you are tonguing the air is in motion between notes, and the slight pauses we may imply between them.
This force is like a toothpaste tube. It needs to applied from the bottom up in a continuous even motion. If you squirt the toothpaste out 4 feet to hit the mirror you apply more force from the bottom up. If you apply the force from the top you get a tiny squirt and the nothing. Same with the air.
Shout loud! Feel the way your muscles are pulling in from the lower part of your lungs and then moving upwards as you continue the loud shout. This is the proper use of your air power. NEVER push out and down. The only thing you get is a headache and "roids."
Some of the old teachers used to say keep tension on the stomach - What they really meant is this constant "bellows" not a brute one time locking of the muscles that I see so often.
Improper use of air as a bellows is the primary cause of sound thinning as you go up, and cuffing notes in an up or down skip. gR
A Balancing act!
Play a low C at medium volume, and take a mental picture of the shape and size of the mouth and throat. Also take a picture of where the vibration is felt on your top lip. Is it out front, in the middle, or on the wet part inside the mouth.
Now play the same note again and focus on balancing that vibrating point more towards the front of the aperture. Once this is easy to feel and manipulate you are at an advantage for the following little exercise.
Start on that low C with everything relaxed and the aperture vibrating point where it is optimized. Move slowly up the C scale to G in the staff. Keep everything in the same place and use just a bit more air and the desire to keep the lip vibrating in that same spot. When that is easy play a one octabe C scale with the same intentions and results.
Your sound should remain just as resonant and full on each note, and tyou will understand how the air support is vital to consistent sound. Your facial muscles will also naturally contract slightly as you go up in response to your desire to keep this vibration at the same point and the air column staying the same size in your mouth.
Playtest this over and over and then after a few hundred repetitions look in the mirror and notice which muscles are flexing as you go up.
Now play the scales from the top down, using the same method.
This is one of those training exercises that builds positive reinforcement.
Common Sense !
Practicing can become and end in it's own. Keep your practice fresh. The easiest way to make it fresh is to play fresh music. There are tons of online sources for free PDF trumpet downloads. Prints them out or keep them on your storage device. I put a lot of music on my Nook. Then I can sit and play things I like right from the screen, anytime, anywhere.
Fresh recordings can stir your imagination. Check out ITunes for new players, groups. Listen and find things that you like. Train your ears to play what you hear - this is fun and makes you a more complete musician.
Fresh ideas, stimulate your own creativity. Don't keep playing the same lick over and over. If you must - then change the keys, the major to minor, wholetone. Mix it up.
CHET BAKER
Do you not like music theaory? Then find a recording you like and transcribe it. The effort will be a challenge that has real rewards. You make the music one with your mind, and become a better player.
Do you use a MAC? Then get one of the IPhone earphones with a little mike built in. When you plug it in your Mac you can record yourself in Quicktime and also hear ypourself by turning up the little volume meter in the recording window. Then you play easier, hear yourself better, and the mike is a teriffic sound - much better than the ambient mikes built into the Mac!
Swap music PDF's with freinds and try some classical string music or the lead line of some bach inventions. This stuff is all good and makes you grow musically.
So what were these guys playing? 1.5's, Schilke 20's, 4*K4's - nope. Take a look at this list and be surprised:
Bernie Glow Bach 25 LB - Bach 3d mpc Johnny Frosk Bach 43 - Bach 7d mpc Joe Ferrette Bach 43 -Bach 6d mpc John Glassel Bach 37 - Bach 7d mpc Jack Morreale Bach 37 lt -Bach 3d Dick Perry Bach 37 , -Giard. 6c (Dick Perry was the lead trumpet player on the original Tonight Show ) Bernie Previn Besson Meha -Bach 7d Ernie Royal Bach 37 -Bach 7d mpc. Joe Shepley Bach 37 -Giard. 7c mpc. Jimmy Maxwell Bach 37 – Bach 5B mpc. Bob Millikan Bach 37 - Giard. 7M (Bob Milikan played lead trumpet for the show Chorus Line for it’s entire run, 18 years ) Marvin Stamm Bach 37 - Warburton copy of Bach 7d Wilmer Wise Bach 72 - Bach 3c mpc. Burt Collins Bach 37 - Bach 7d mouthpiece Phil Fischer Bach 37 - 3c mouthpiece ( Phil Fischer was first trumpet at Radio City Music Hall for 16 years ) Wilfred ‘ Bob ‘ Roberts Bach 37 - Bach 3c mpc. Mel Davis Bach 37,43 -bach 5d mpc Leo S. Ball Bach 72 - Bach 3c mpc Doc Cheatham Bach 37 lt - Bach 10 3/4 cw mpc Lyle " Rusty " Dedrick Bach 37 - Bach 7c mpc. John Glassel Bach 37 - Bach 7d mpc Al Maiorca Bach 37, - Bach 6A mpc. Raymond Mase Bach 37, - Bach 3c ( commercial ) Charlie Miller Bach 72 - George Bakur 7C Larry Moser Bach 37,43 - Giard 7m mpc Fernando Pasqualone Bach 37 - bach 3d mpc. Marky Markowitz Bach 37 - Bach 7d mpc _________________
Air between lips and teeth - ???
I need to clarify the point about letting the air form a pouch that is located directly between the teeth and the rim of the mouthpiece. First you remember that the purpose of letting air strike or push or lay against the front of the mouth around the embouchure is to activate the lips to subtly contract towards oneanother.
THIS only happens if your jaw is forward or even to the top teeth edges!
The air rushing around the lips and through the aperture definitely causes a visible outward bulge.
When you allow that air to form a bulge between the rim and the teeth you have loosened too much and the lips will be pulled apart.
Let the lips touch the teeth and the rim which creates a seal that separates the vibrating portion of the lips in the aperture tunnel, from the surrounding facia which resists the air and causes the lips to come together - not blow apart.
Depending on trhe size of your lips you will feel the rim separting the non vibrating from the vibrating portion. For many players using a normal sized mouthpiece this feeling will be on both top and bottom. If the lower lip is very big you may feel the rim separting the vibrating area from the non-vibrating occur ON THE RED. This is the exception.
Finding your "CENTER"
Play low C and let it vibrate in your hands. Move up to low D and do not make any attempt to lip it in tune or use ANY triggers. Let the pitch be where it is on the horn. From now on I'll refer to this as "playing it where it lies."
Play from low C up to middle C and let every note play where it lies. Fight the urge to lip it! Now you have an idea of how much extra work it takes to play in tune!
After you have gotten comfortable with this technique throughout the range of the horn, you can adjust your main tuning slide to the OVERALL pitch discrepancy. The horn has 3 choices 1. Play generally in tune 2. Play generally flat 3. Play generally sharp.
Your goal is to compromise with your tuning slide to bring the greatest number of notes in line with #1 choice.
While you were playing while letting them lie, I hope you noticed how much better your sound was. How the horn rang, and how much less effort you needed.
This teaches us several things and if we take care to follow up on what we've learned we will imp[rove our ease, tone, and abilities.
By using your triggers, or tunig hooks etc. you can keep the blow the same and let the both ring and play in tune. It takes time, and you'll need to grease up those devices.
I suggest you do most of this with your ears and not a tuner. This teaches you to hear better.
If your 3rd valve combinations are VERY sharp you can loosen the 3rd valve cap a turn or two to lower the pitch - actually it gives you a wider slot for the note to sit in, and your AIR will find the sweet spot without your having to lip it.
Many horns play more in tune and easier with the 1st and 3rd slides pulled out all the time about 1/8th to 1/4 inch.
Have fun - relax - work smarter and not harder:) gR
Some new Tips and Tricks - July 2011
Clean your lead pipe after you play - run a cloth on a string or blow a spit ball through or use a brush. It will amaze you how much better your sound is.
Don't ever let junk accumulate in the valve caps - clean it out often.
Always check ALL of the screw on components before you start to play. Find the sweet spot with each.
Always put your mouthpiece in the same way - identify which of the 360 degrees play the best and use it every time.
Check the corks - the plastic, rubber, neoprene, and never let a leak develop.
Clean out your mouthpiece!
Don't use leather hand grips or any other - unless you like a duller sound,
Always take the same amount of time setting the mouthpiece to your lips. Don't rush, don't hesitate, just get a comfortable lift, set, breathe, and play routine.
Read the music at least 4 bars ahead try for 8 bars. Keep scanning ahead for any "surprises"
Practice the scales you are NOT comfortable with.
Play musically. Don't fall into the blasting thing.
MF is is medium loud - not :"oh that's too soft"
Left arm pressure always transfers to bottom lip
When playing above the staff think an octave lower.
Practice all forms of articulation, not just slurring or tonguing everything.
Connect your notes with an imaginary needle and thread of vibration.
Strive to make the end of one note become the beginning of the next note.
Maintain the same size nozzle through your throat and mouth regardless of what you play.
Use your tongue by using an oblique movement low to top front. Not in and out.
Arch your tongue the same way you whistle, not the way you say ahh - eeee.
gR
One Piece Mouthpieces are superior.
A bit strange considering I sell Tops for your choice of shanks. It's a compromise however. I am exploring the costs involved in making one piece gRawlin Mouthpieces. My Cornet, Flugel, and Roy Stevens pieces are 1 piece, and when I decide whether to make one piece grawlin's I will need to decide which backbore to use...
But back to why the 1 piece is superior. The greatest loss of Standing Wave Efficiency is at the receiver connection with the mouthpiece. When you add multiple connection points in the mouthpiece itself you compromise it more. The results are dependant upon several factors: Brand of mouthpiece shank and top, compatibility of design between them. The sleeves included rubber or plastic o-rings introduce a new dampening factor. The tops may be loosely fitted the threads may wear - all contributing to loss of integrity.The majority of players don't find any of this am issue. But they do not understand the complexity of the relationship between mouthpiece and receiver. The issues include less endurance, intonation, change of blow from top to bottom, and so on. Players just fall into negative embouchure habits and overcome - or so they believe" the issues. Most of the time they incorrectly attribute it to the horn , lack of practice, mis-aligned valves and so on.
So the next time you play, ask yourself "have I optimized my mouthpiece and receiver connection, or have I compromised it, and what are the consequences?"
gR
What you need to try - before a major embouchure change
Leift your arms up to about 30 degrees on each side. Sit with your back away from the chair. Hold the horn up to your lips and play a middle G.
Then a C. Did the angle of your horn change? This may or may not be an issue. Did your lower jaw move when you changed the angle or were you just adding or subtracting weight or pressure on top or bottom lip?
If you change the angle while moving up and down, you do it for a reason. The slight angle relieves pressure and should distribute more on the lower lip. Try playing with less than 50% top lip weight - - this weight is sometimes called left arm pressure:)
Now understand that pressure is only a portion of why we tilt. If you play a sharp or flat rim you may tilt down to keep the edge from hurting the top lip. If you play a rounded or semi-rounded rim you may tilt down to allow more of the top lip to vibrate for loudness as you go up.This is an option for some players, and others never notice any change at all.
All of this is compounded by two additional factors: Jaw opening and closing, Jaw swinging back and forth on it's natural arch.
Remember that keeping the jaw on the same forward/backward plane is very important!
When the jaw moves backwards from your clear open sound point, it is allowing the lower lip an open door to run up to the secirity of the the top teeth and "whistle" higher notes easily Try blowing air at your chin and you feel the lip corners collapse. Now blow air straight out or up at your nose and you feel the lips comes together and the corners working to hold them together. This business of allowing the jaw to slide backwards on it's arch is a trap and only works as far up as you can keep the lower lip from actually closing against the top teeth and squishing the sound thin and off.
When you maintain the jaw position by "telling" it to stay in the same lateral position your allow your lips and face and air to work at their maximum.
Suppose your teeth close when you go up and upen when you go down. Then that means your jaw is moving. The question is "does it stay?" in the same lateral plane or slide back and forth. It needs to stay in that plane.
Do your lips move into the cup further when you play louder? Then you are allowing more air into the horn and wasting the positive effects of the air activating the front of the face muscles properly. Tell your lips to remain in the same vertical plane as your jaw and the air will assit the actual playing muscles and not be wasted and moved into the horn excessively. The air only creates the vibration and moving more or less air through the horn does not "propell" sound any more than gasoline itself makes the tires move on your vehicle.
There is a lot more to consider before any big change. Most players find these simple guidelines to help them improve without the major change.
gR
How Long in hours should I be able to practice?
Sounds simple - right? Wrong. Everybody has short or long practice days dictated by your mental and physical state. Practicing must be planned and timely to accomplish growth.
Players must learn to read the signals the body and mind are giveing them. You're sleepy, grumpy, irritated, relaxed, calm, excited, restless, pensive, studious. Which of these are not compatible with practice? NONE OF THEM, or ALL OF THEM. It depends on your DESIRE to improve!
Practice is not a routine, a schedule, a time for hard work; It is a time for discovery - pure and simple.
If you don't discover something new everytime you practice you are wasting your time. As for how you feel it's up to you. If your tired practice can wake you up. grumpy - it can make you happy. The joy of practice leads to the discoveries during practice. The more you discover the more you want to practice.
each day has external obligations, you and you alone can make the decision of how long you either want to or must practice.
It is quite possible to practice an entire day when you pace yourself. When you play as much as you rest. When you practice properly.
It is also possible to discover and accomplish a new thing in minutes. It is up to you.
You decide what you do - not your teacher, your friends, your ego - It must be your love for the challenge of discovery that induces the will to practice.
Combine this with common trumpet sense, and the sky is the limit.
Now go discover something!
Sight Reading - An Absolute Must !!!
Can you get the big picture of the page in a glance? Do you see the style, the key, the tempo? Do you read a note at a time or a phrase at a time? Can you hear the sound of the phrase in your head before you play it? What do you see first: notes, dynamics, rests, range, or do you see them in a single glance?
Do your eyes constantly look at a entire phrase lock into your mind and while you play that phrase do you look ahead for the next? Or the next two. Can you see a repeat, or key change, or dynamic many measures before it is on you?
Have you trained your eyes to see a little measure and remember, then 2,3,4,5,6,7,8 measures and play. Try this: see a phrase with a glance of no more than 2 seconds - now close your eyes and play it. Develop this skill! It will move you so far ahead of the average players:) Later in life it is consistent sight reading and accuracy will get you the work over the guy who may be flashy, but couldn't read his way out of a comic book store.
These are the questions every player must answer and then prepare.
You first off must know your scales. A beginner learns the scales up to to or three b's and #'s in the first year of playing. After 3 years any respectable student most have under their fingers all 12 major scales and of course the chromatic scale. A beginner must get past the process of seeing a note thinking of the name and the fingering then playing. Within the first several weeks the fingerings should come instantly for whatever music you are faced with. Sightsinging is an acquired skill. You sing half steps, whole steps, 3rds, 4ths, 5ths, 6ths, 7ths, and then learn to hear your intervals as you see them. Here Comes the Bride - a 4th My Bobby Lies over the Ocean - a major 6th And so on until you see it hear it play it.
Ryhthms must be begun by understanding how to count. 1&2&3&4, 1&a,2&a, 3&a,4&a. ETC. until you can count anything your teacher puts in front of you. This is what we call "sub-dividing"
I allow my students to tap - LRLR for 1234. This hetero-lateral movement keeps the tempo even.
Charles Colin has a book "Sight Reading for All Treble Clef Instruments" Arbans begins with simple and moves to complex rhythms Your instructor will choose one for you.
Just like we see and hear and do the fingerings, and hear the intervals, every player must see and FEEL the ryhthm as they play.
These are the building blocks of sight reading.
I highly suggest every trumpet player purchase the "Elementary Training for Musicians" book and begin working through it for as long as it takes.
Remember sight reading takes time to develop as a useable skill - never stop studying, because there are always new things to play and challenge you!
Air between teeth and lips??
YES is the simple answer. This does not mean to puff your cheeks - when you puff the facial muscles relax enough to allow the puffing and the end result is that it pulls the lips apart - bad.
What we do desire is for the air to push against the full front of the face, allowing the face to begin to inflate and resist the air rather than the face pulling back in tension and resisting the teeth. Think about this...
Example - a parachute begins to fill with air - the air is trapped and the cloth evenly expands and slows the fall. Now if you climbed up to the top of that parachute and took a knife and made a 4 foot long slit, the air would escape and the cloth would vibrate and the fact that the parachute is resisting the air would still keep the parachute from collapsing. The air escaping would be fast and strong - but the cloth would not collapse or loose it's inflated shape.
This is the way the front of your face and cheeks become the parachute - the lip aperture which is closed but your will allows them to let the air escape through the aperture, and a pure fast stream of air causes the lips to vibrate. Think about it.
This concept allows the face to float on the air and as it resists THE AIR the lips vibrate - NOT as the lips tighten against the teeth squeezing the vibration out.
gR
20 Common techniques employed by all good players
1. Full, bouyant air column 2. Large facial muscles doing the bulk of the support from a muscular point of view 3. more left arm pressure on the lower lip than on the top lip 4. A full free vibration as the basis for the tone 5. Upright and flexible posture 6. Consistant practice and warm up habits 7. All the scales, modes, chords under the fingers without thought 8. Maintaining a reserve of at least 10% 9. Proper equipment - clean, well oiled and greased 10. An intense desire to be a better player EVERY time they pick up the horn - Eternal Students 11.Clean precise control of tonguing 12. Healthy respect for the music and other players 13. Ability to perform solo in front of anybody, anytime 14. Control over nerves 15, Able to play in tune regardless of what is going on around them 16. Ability to play without "hearing" themselves and still have confidence in what comes out of their bell. 17. Knowledge of many contrasting styles, idyioms, and phrasings 18. A sound that carries - projects and is musical 19. Ability to play without pain of any kind 20. They are their own best teachers
Orchestral Trumpet Studies Compiled from a recent discussion on TPIN
"I
was trained as an orchestral player and collected hundreds of excerpt
books. The literature is where we spent most our practice, but without a
role model for sound and style it becomes a jungle out there. In my 64
years on this planet the styles, sounds, equipment has changed over and
over. Listen to current recordings, but do not miss the joy of the
past years. This little list is just a begging point for picking up
books. Find a orchestral teacher and better yet a member of your local
orchestra to study from. Own CD's - and play along with the great
players.
The work is limited for fulltime opportunities, but
there are thousands of local and semi-pro opportunities. There are still
a few churches that play orchestral music - good for them! Remember
that the music you listen to is the music you have stored in your mental
memory bank. If you do not listen to orchestral music chances are you
will never become an orchestral musician. Do not wait until High School
or College - start today if this is what you desire. " gR
from TPIN:
Phil Smith excerpts CD should be a resource in constant use, Kalmus used to publish some excerpt books about the same time that International were publishing theirs. Dave Hickman's publications in general, Phil Norris' book"Top 50 Orchestral Excerpts", which
someone else mentioned as being published by Tom Crown. It's actually
published by Crown Music Publishers, which is not related to Tom Crown
Orchestral Musician's Library,
although to buy the complete set of trumpet parts is quite expensive,
the parts in this library are all public domain music. The good thing
about this library is that it's available for all instruments, and if
you wish you can also buy the full scores disks, which often is helpful
in trying to learn how best to play the trumpet excerpts.
Dave Hickman's publications in general,
IMSLP is the best resource for orchestra parts. You can download the actual parts for most things.
Hickman/JC Dobrzelewski volumes are VERY GOOD. Voisin books (which included Bartold and a few other compilers) published by International.
Rule number 1:
Always retain the natural thickness of your lips. No stretching, no puckering, no pooching.
Rule number 2:
Relax your throat and tongue - let them settle down to the bottom.
Rule number 3:
Gently close lips allowing top lip edge to meet bottom lip edge between teeth ( center aperture between top and bottom teeth edges)
Rule number 4:
Keep your back molars AND front teeth open at least 1/4th inch - always
Rule number 5:
Never stop the air movement between inhale and exhale. one, two, three, breathe, blow
Vibrato Saga - my personal experience.
Growing up in the Salvation Army I naturally heard the jaw - lip vibrato. In these bands it occurred at the instant of attack and was really corny. I learned to slow it down and warm the tone with it.
In an amateur band vibrato covers a multitude of sins. The more the better...
Not ever playing or owning a trumpet until my first year on the road at age 19, I had a terrible time playing "straight" later I learned to fan a little vibrato towards the end of longer tones. Harry James style.
I still to this day have to curb my vibrato when I play. The best thing I ever did was about 20 years ago when I played along with Maurice Andre in my headphones. Matching every vibrato nuance.
This has served me well for most Symphonic work and legit solos, but I still suffer the blasted "army" vibrato. Like Glenn I practice long tones and with a metronome I plan out different styles of vibrato. I wonder though/ that vibrato is really tremolo because unless I use my hand the pitch does not move - just the volume variations.
This is one of those things that style and originality must dictate. To be locked into a corny vibrato is a terrible thing.
Harry Begian loved my cornet vibrato and even told me never to play trumpet 'caus it would ruin my cornet playing. He was right. I just don't get that SA sound anymore on cornet.
The saga continues...more on producing vibratos later... gR
Honesty sometimes hurts, but here goes: "Why AirPlay is the smartest way to play."
I see players play with such unnecessary force and struggle from all arenas of the profession. They sound good, play play well, but I ask "why do these guys work so hard?"
The answer is security. There is something about a firm grip on the note that makes us feel secure. The truth is that we are fearful of letting the note get away from us and resort to any grip giving us confidence.
"Hit it hard and wish it well" is what Claude Gordon said.
What I say is "release it and let it fly!"
If you pick up a fragile object, you hold it carefully but not with tension. If we pick up a heavy hammer we use strength and tension. Producing a tone on the trumpet must be like balancing a fragile object on the tips of your fingers.
When we play ANY note it needs to be with grace, gentleness, care, but NOT force.
The reason for this delicacy is the vibrating surface must never be dampened by force. When you press your lips together and tighten your corners you establish a vicious cycle. More tension, more air, more tension, more air. Ending with blockage. The tension is akin to pressing on the strings of a piano and expecting the tone to be better!
Look at it from another POV: You can play any given note with equal parts muscle and air - 50/50, or you can use 80% air and 20% muscle, or 20% air and 80% muscle. Do you see how they both work but you can also hear in your mind what the 80% muscle sounds like: a dead lifeless sound!
This is because the very vibrating surface producing that tone is also the surface being forced and tensed. You can't have it both ways.
When we grip a note with our lips we are using the wrong muscles. We need to be using the large muscles that are behind and below the lips. These "support" the lips as does the rim of the mouthpiece. They maintain the connection of the lips top and bottom WITHOUT tensing the actual lips themselves!
Think about that - picture it in your mind, dwell on it. Imagine how it feels....This is so important!!!
What we must do n order to to play with a free vibration is balance the air (support) to the large surrounding muscle response providing the correct proportion for a fluid relaxed, and flexible sound. A sound that contains maximum harmonic content. This means not squeezing the overtones from a note.
True - equipment matters! A shallower cup, a different backbore - makes it easier to play high and loud. A horn with a great standing wave efficiency coefficient really helps.
But even more than this is the managed and skillful employment of your body functions to produce a powerful and yet vibrantly fluid sound.
This is why I play and preach the AirPlay concept!
I want you to play all you want, as big or soft or high or loud or as long as you want with EASE and beauty. I don't want your lips to be scarred with pressure sores and dents. I don't want your lips to swell, bruise, and get numb.
Why not invest time in: Focus, Balance, and ECONOMY of effort - producing a wonderful sound, a wonderful mental attitude, and enriching your longevity as a player?
Over the next weeks I am posting my basic rules for efficient playing. For ALL players - not just AirPlay students!
Rule number 1:
Always retain the natural thickness of your lips. No stretching, no puckering, no pooching.
Listen to fine players - notice that the sound is consistent high or low soft or loud. This does not happen by itself. You can play h same way and here are some tips !
Practice into your music stand or facing a wall in close proximity. This prevents overblowing. It allows you to here the core of your sound and to stay with that core as you move up down soft and loud.
The air core or the space that your air passes through in your throat and mouth should remain the same. This is accomlished when you produce a compact sound with lots of overtones and color, but not forced. The tip is to find the pitch that gives you your most focused sound and then gradually spread out the range in both directions. i.e. play a G in the staff then an A above followed by the G then the F below. Continue moving up and down always returning to the G for reference.
This exercise keeps your sound from swelling out fat and dark or thin and bright - it allows you to hear and feel what a consistent focus does. You will play easier, and extend your range with ease.
Here is a little exercise I use for range and endurance that follows my principle of spreading the range as you go. Clik Here To Download or view
Tuning conversations from our recent thread on the TPIN list.
Quotes and clips from conversations - another reason to join TPIN online:)
from gRawlin In following the pitch conversation I wanted to mention another oddity. There are generally two spots to tune on a slide . 1st is about 3/8" out and the 2nd about 1 1/4" inch out. Both play in tune depending on what kind of player you are. Harry Begian gave me a real concise point about tuning, He said "pulling or pushing the slide has more to do with timbre than tuning if you have a decent ear."
The hidden truth is that most average players have no idea how to tune.
Here is what I have used for years with students and pitch:
Play a MF scale for Low C to C in the staff in slow quarter notes - make sure to tongue each note - let someone else view the pitch on a meter . From that experience they can say your were generally sharp or flat. There was one or 2 notes that were markedly sharper or flatter. Now pull your slide in or out so much and do it again. Then repeat / until the average pitch is most in tune. Use compensating triggers to relieve the "wolf" notes.
Next have the student play the same scale while you play a Bb chord on the piano and you will quickly see whether they have a sense of pitch or not. When you have your horn averaged your ears do the rest.
Lastly play the scale with them on the piano and notice how much more in tune they are.
To this day I tune to a complete scale of at least 2 octaves while a major chord is played on the piano or organ. Sure my slide usually is in the same place, but I have the assurance that all is well in tuning world.
The key to pitch control is to let the horn do the work - the more a good ear "lips" notes the more stress is used and it is quite possible to play on an out of tune trumpet for a time and just get more worn out, eventually pinching or flapping your way through to a negative result. On the other hand when you allow the horn to play the tuning scale "where it lays on the instrument " and move the slide appropriately you last longer , be much more in tune and have a positive result.
Another fine point of tuning within a group is to let your ear rely on pitch from the Bass instrument(s) Band directors should always tune the bass instruments first and then teach the players to listen to this for their tuning.
If you want your group to play in tune you must give them the skills - the one A for strings etc and the Bb for brass is awful. A symphony often tunes from an oboe A. These are seasoned pros who are probably going to play in tune w/o any tone, but it unifies the sections and reminds everyone to listen before playing.
Suppose your church orchestra practices in the orch room - tunes up then moves to the sanctuary to play. What assurance is there that the keyboards there are at the pitch and the room at the same temperature. There must be a tuning note sounded from a fixed pitch instrument in the sanctuary as a reference before the group plays. I really get sick of out of tune church instrumentalists. Take time, do your diligent work, prepare , be safe and then honor the Lord with praise and not noise.
Continued conversations from list members with their own ideas : ............................
Tuning to the bass line allows an ensemble to line up all the overtones in the group, and avoids the problems with reduced octaves (tubas playing sharp and flutes playing flat in concert bands, for example), or, by contrast, the overcompensation of tubas playing flat and flutes playing sharp.
There is an issue with the current population in which people have difficulty hearing the full range of pitch, due to damage to the inner ear from listening to radios/i-pods, etc that are too loud, for extended periods of time.
And that doesn't even address the issue of sound-mixers cranking up the treble so loudly that all sense of balance is lost.
(I can't stand it when a sound man/woman is accustomed to mixing for rock bands and suddenly thinks they understand how to amplify an acoustic ensemble, or a jazz band!)
Sorry for the rant, but having learned to listen all across the spectrum, and to set my trumpet's pitch accordingly, it drives me crazy to deal with bad pitch!
I know that when one is playing in an amplified setting, it's often hard to hear the bass when the person running the mixing board is oriented to mixing for rock music and for audiences for whom "nuance" is just another computer software company if they know the word at all.
I try to listen to everybody, focusing on the bass but also trying to blend with the others as well. It's a difficult task, playing in tune, and it's made more complicated by others in the ensemble who may be tuning to a different source than the bass. And sometimes pointing out what should be obvious in my opinion (tune to the bass) gets angry stares and once the music starts it's best to compromise and play as much in tune as one can with the overall sound of the ensemble.
Which just makes it all the sweeter when A) we get to play in an ensemble where everybody is tuning to the bass; and B) the bass player is playing in tune. :-)
Just like the old saying "I may not always be right, but I am always the boss," the bass player gets to say "I may not always play in tune, but I am always the bass." ;-)
In this particular case it isn't the equipment, although I agree that could be a cause generally.
I know my tone is losing some of the overtones, because I am blowing sharp and my jaw is too tense. I will play with other mouthpieces just in case, but I don't think so here.
I'm going to sit with the experts, John Daniel, George Rawlin, Jeanne and Pops and see what they think. Jeanne has already pretty much diagnosed what I'm doing wrong and it will be easy to fix if I do it right away.
Mates, not sure if its been mentioned as i may have missed some posts but as the mouthpiece cup gets shallower and the backbore gets tighter, the pitch gets sharper. this is a natural acoustical phenomenon. I know that your Tottle mouthpiece is shallowish, Mark. and your backbore, although not real small and tight is a little tighter than the average. this alone might be enough to be responsible for your tuning slide being out. Having your tuning slide is not a problem, but BEING OUT OF TUNE IS! glenn________________ BINGO, John! That's the point---it is possible, by thrusting the lower jaw forward (which is NOT something most folks should do, because of issues with TMJ) to open the front teeth with the back molars clamped (or almost clamped). BUT if the back molars are open (about 3/16ths to 3/8ths of an inch for most folks) the front teeth will be nice and open, freeing up the lips to vibrate and allowing tone production without overblowing.... ...................... Just experiencing (playing and tasting) in-tune intervals can make avery big difference. A simple quite way to help is by having the trumpets play a third space C with the E above producing a three note chord (the pedal C happens when in tune. Go around the circle of all the players. They will in a time learn What a major third sounds and feels. Many similar things can be found to produce players who listen and hear.
, "open the back molars". Is this different the just opening your mouth?
I can't put space between the back teeth without opening the front. ................. AAAAAAAA-MEN!!! Nor is there any way to play in tune with a good full, focused sound without opening the jaw and closing the lips, which allows the lips to vibrate freely without overblowing or pinching the lips together (the freight elevator door syndrome).... Simply put: 1. Open back molars2. Wet lips3. Close lips GENTLY4. Release air et Voila! Hth, let me know if you need more details.... Blessings, Jeanne Let it be said simply. There is no way to fake a relaxed sound. .................... As just another Band director/trumpet player I'll put my two cents in:
In amateur or inexperienced groups, trombones (especially in Jazz Bands) drive the pitch sharp when playing FFF and often make the Lead player sound flat.
I hear it all the time at Jazz Festivals. (The lead player sounds under pitch on high notes but will maintain he's in tune with his tuner-and he'll be right in terms of the battle but wrong in terms of the war.....)
I try to find the center of the group and play there. If it moves up. I move up. (But usually suggest everybody hit a tuner during the break....)
The one thing I won't do is leave my slide out and kill my chops trying to lip the pitch into the center of the group. That way lies madness and clambakes.....
[snip]
I'm constantly adjusting my slide as I notice the drifting of the pitch in the group and as my own playing needs adjusting. What disturbs me in many groups, including my own community band which I conduct, is when the sound is clearly out of tune and I look around and nobody is adjusting their instruments. I keep mentioning this to my band, trying to help them work for better intonation in their private practice (where tuning meters can help a lot) and especially in their ensemble playing.
One big gripe I have and make comments on whenever I have a chance is when people play with one embouchure and support combination to sound the tuning note, and then play with a completely different posture, support and embouchure.
Nothing's more disheartening than to have someone play a note nicely in tune, then begin to play on the same pitch and have it a quarter-step off from what they just played simply because they've changed from their "tuning setup" to their "playing setup."
I also tell people that when they are checking their tuning with a meter or with another instrument, it's the attack which has to be in tune, not the sustain. It's amazing how someone can attack a note out of tune, then lip it into tune as they hold it and smile with pride because they're finally in tune.
If it ain't in tune at the start, it ain't in tune. Especially because every note has a beginning but not every note has much sustain to it, so if people aren't checking to be sure the attack is in tune, one can play an entire piece of 16ths and staccato 8ths and quarters and not be in tune at all, yet when they check with a meter, they're in tune because they hold it long enough to lip it into tune.
And then there's the whole problem of making people aware of beats in the pitch so they can adjust while playing. Some people have played out of tune for so long that the beats present when they play are just something they thought was part of the sound they were supposed to get.
To stand or not to stand...
When I was young I always stood to practice. Now I'm old and sit to practice. Why would I care about it? The answer is that both are correct. There is no right or wrong. It does not make you a better player to choose one or the other. If you are preparing for a stand-up solo, then you should play that solo several times in a comfortable standing position. This increases your confidence.
If you sit to perform, then neither standing or sitting for practice is better.
ANDY HAGAN - A Great Player and friend!
I believe sitting is the best way to rehearse - It keeps you relaxed. Do you slouch when you practice? stop slouching - don't stiffen up just forward on the seat - keeping your back away from the chair back.
Your chair should be high enough to allow your hip to knee angle a slight drop towards the knees.
If you want to work on breathing I suggest you lie down a your bed and prepare for sleep. Your body will shift the focus of your breathing lower than when standing and your exhalations will be rhymic and relaxed with just the proper compression.
Play some long soft tones with this breathing rhythm while on your back and you will feel the air support your sound as it should.
Sitting or standing is NOT the question. Are you breathing properly is the question! gR
Trumpet world view
I have to be careful about what I say on public forums such as TPIN. What I say here now is up front and personal about the overall Trumpet World view. Just as there is the humanist world view and the Christian World view there is a Trumpet world view. I divide them into camps: The Buzz based Trumpet world view and the Static based World view.
Once you have committed yourself to a world view everything you do and say reflects this.
In the Buzz based view every subsequent move sits atop the view. If you want to buzz you begin the tone within the context of a pre set embouchure that is manipulated and trained to produce the Buzz. This can involve wonderful air, pitch, tone and flexibility but carries with it the inherent result of a constantly dynamic embouchure. Lips tensing relaxing stretching closing opening and tiring and wearing down.
With the static view you have the sky as the limit for sound, control, flexibility, and endurance. rather than presetting the lips for a note or phrase you simply hear the note and play it.
Bottom line is that I believe buzzing is a waste of time for anything other than low buzz flaps to stimulate the blood flow.
I believe control comes from relation and form rather than pretension and muscle development.
Over on my UTube channel I am documenting my return to the horn after a severe spine surgery. This shows how a proper static based trumpet world view will bring me back to playing well in short order. This is an accelerated study of how you build up the machine that plays the trumpet without building up excess tension and force.
I posted this note to TPIN this week. It is geared for all types
of players and does not go in to all the AirPlay studies I generally
teach here on grawlin.com
If you are looking for some general tips on playing into the upper register these will get your foot into the door.
Generally speaking, higher tones are the byproduct of relaxation and flow in the mid register.
Most of it is between the ears, confidence is built by hundreds of successful repetitions.
I
always suggest slurring soft portamento style intervals in the mid
range as the first building block. G to E ( major and minor 6ths) as one
continuous sound with no change in volume, intensity, or pressure.
While the left arm secures the lower lip and is the point of any pressure the top lip is free to vibrate.
Most
players can play to notes above the staff without much help. The
problem is that they subconsciously are doing it with added pressure on
the top lip, or by a slight twisting of the rim to create a thinner top
lip.
These are often un-noticed until a note higher than usual is attempted and the sound cuts off.
The
bottom lip rolls in over the bottom teeth edges and as they ascend the
jaw slides back and up allowing the bottom lip to make contact with the
top teeth edges, voila the note cuts off.
Playing soft scales
allows a player to notice the negative added pressure, moving jaw,
rolling lip etc.. By playing a tetra-chord only and "allowing " these
movements NOT to happen, you can begin the process of ascension
properly. Listen to your sound always, by playing into a corner or
letting the crisp tone come back from the music stand to your ear - this
greatly helps you float on the air and hear when the sound thins,
deadens, or other negative result.
Learning to tie every note to
the previous or next with an imaginary piece of string floating in your
air column contributes to a much more efficient method of moving from
note to note.
Play G,A,B,C in the staff until it is connected,
beautiful, effortless, and resonant. Do this thousands of times then do
A,B,C,D and continue in this manner. Stop when you have choked the high
tone 3 times in a row, rest 30 minutes minimum and return.
All of this trains you to have confidence in moving on up properly, and easily.
It is more technique than muscle, more relaxation than tension. It helps to mentally see the upper notes an octave lower:)
As
example, my so Brian at 7 years old had watched me play hundreds of
hours and when he practiced his range went to high C with ease. by the
time is was 9 he played easy scales to double C and beyond. He did not
know this was difficult, or unusual. To this day (he does not play
anymore) he comes over to the house and plays up above double C for fun
and to make me jealous.
Hope this gets your foot in the door.... gR
Cups, Rims, and Lips
If you have a nice AirPlay style balance between the force you blow with and the resistance you feel holding your lips back it is much easier to play with endurance, control, and power.
When you choose a large cup diameter you must also make sure the cup does not allow your lips to spread open and dip into the cup. This is what I call chasing the air. When you play louder or higher your lips move into the cup and the inner soft red vibrates more - sometimes to the point of blasting or stinging your lips.
Some players choose to tighten the lips and contract them back out of the cup, but this takes more air and chokes the natural free vibration.
The way to handle the issue is to carefully select another cup, rim and diameter. Let's say you are playing a Bach 3C. So you know you don't want to let your lips pooch into the cup so you choose a more narrow diameter - like a Bach 10.5C.
The first thing you notice is the rim is tighter and your lips "bottom out" at the bottom of the cup. What you have accomplished is a smaller sound, difficulty playing full, and a limited higher range.
So with this example you see there is more to the solution than a cup change. The answer is to give yourself a new mental image of what happens when you blow the horn. We all have a mental-image of what it takes - usually from the first time we blow the horn. Regardless of whether we consciously review the image when we play, it is there and we respond instinctively to it.
Building a new image takes a little focus and concentration. Mine is like this: I see a smooth piece of flat, smooth brass laying against my closed mouth. My lips a gently closed and my teeth are open about 1/4th inch. I feel the contact a bit firmer on my lower lip than my upper, but all gentle.
As I breathe against my lips the flat piece of brass responds by opening from the center just enough to let the air move easily through. My top lip begins to vibrate and a soft tone is produced.
Now if I blow harder and my lip moves out into the space the brass closes off and cuts my lip in half!
I quickly learn that it is best to tell my lips to stay put - not rolling in or out.
Now with this image in place, I have built up a scenario that keeps me from instinctively committed the roll and or push sins.
So I back to the cup size. Now I lay out several mouthpieces: My 3C, a 5C, a 7C, a 10.5c Now I try the 5c and play a soft G with my new mental image. then the 7 then the 10.5.
One of these will feel and sound better than the others. By practicing on this new piece for a few days I notice my endurance is better, the higher notes are easier, and my control is better.
Next I decide whether the rim is comfortable and is holding my lips in place. If I have a nice music store to go to they will let me play several makes and models of mouthpieces. The purpose is to fine tune the width , depth, sound, and rim contour. When you are happy with the combination you are ready to purchase.
Now this is going to get your chops in a more stable position and allow you to progress. As you progress you may need to re-evaluate the piece and go through the process again.
I venture to say that many players never do this,and if they do they do it wrong. The purpose of a mouthpiece is to create a artificial boundary where your lips are contained both top to bottom and in to out. This is determined by the size of your teeth, high and low points. width of mouth and the advancement of your abilities.
Until the mid 20th century players used smaller diameters ( like a Bach 7) and then bigger sizes worked there way in. Not everyone is of the size to play a big mouthpiece. The sound of a smaller piece is not always thinner it can be nice and full as a result of the rim contour, depth, and the throat and backbore.
So if you have a it a brick-wall and cannot progress it may very well be the mis-match of mouthpiece cup and your body, not your practice habits. gr
I can't spend much time today here but I love this topic. Becoming an efficient player should be every player's goal.
If your lips hurt, you get winded, pull muscles in your chest, if you have great big pressure marks - you NEED to look at decreasing the work through efficient playing. I have come 180° in my playing through efficiency. Have you ever had one of those moments when a beautiful upper range note just happened? It came without strain, or force, or pressure. Then you momentarily stepped into another realm of playing the trumpet.
I used to dream of just breathing into a horn and a nice fat clear sound would come out and the horn played as easy as a slide whistle.
Well I can tell you it is possible, probable, and practical, it is begging for you to experience . It begins with a few days off to relax the mechanism, and then begins with those softest whispers of tone that just happen by themselves.
You will not believe me - but I DO NOT AND CANNOT BUZZ. At one time Mr. Schilke had me buzzing up to F above high C, but I was full of pressure and tension, and that way of playing only brought me pain, heartache, and a separated lip. Yes I played well - but it was not worth the cost. I am now old fat and in a wheelchair but I have the joy of playing every night for 3,4,5 hours without pain and with a range of at least 3.5 octaves. I am not working - I am at the place that an old pro golfer is when he hits a 250 yard drive right down the middle with a relaxed beautiful swing.
It's the timing, the set up, the address, the follow through, the conviction that whatever note you desire is there because you have done it 10,000 times. It is not bodybuilding, gymnastics, isometrics and blowing the walls down. It is perfecting a beautiful swing that meets the ball with a full flat face and follows through with ease and conviction. It is like the martial artist that defies imagination with "power" even though he weighs 90LBS dripping wet........
Then buy AirPlay in the store. Download the videos and step into a new world.
George Rawlin Gwrawlin@att.net grawlin5347 Skype grawlin@grawlin.com gRawlin.com ........................................................................................................................................
Things that me you go: Ummm!
I must be in my obstinate mood today. Sorry Here is the way I see it:
Embouchure is a loaded word. What is it after-all?
Most of us say we change our embouchure when we really only change one tiny element of the embouchure. I consider the embouchure anything that is not metal that plays the horn. So to move your rim a little , or close or open teeth a bit, or change the angle of the horn is just that - changing the whatever - it isn't an embouchure change.
If you changed your embouchure you probably wouldn't be able to play. Why? because there are so many basic "you can't change this" items that it makes no sense to CHANGE the entire embouchure.
I never tell a player I'm changing his embouchure. I might move something, or relax something, or think about something in a different way but this embouchure business is just overplayed.
Changing embouchure is like changing light bulbs for a psychiatrist. It only changes if you really want it to change, and that ain't goin' to happen. we can change methods but changing embouchure is like changing your feet so you can run faster. Hey man just get some new shoes and practice a little. .........................................................
The exact acoustic impedance of every trumpet is a dynamic, not a static.
Things change when you empty the spit valve, move the tuning slide, hold your hand tighter or looser, tighten you caps, wash it out, put the mouthpiece in more or less securely.
I fail to see the point of dwelling on this. A horn is what it is. It sounds like it sounds, but, as far as playing like it plays - there can be a change for the better or worse.
We create the supposed feel of the horn in a thousand ways.
Most players have no concept at all of why they sound and play and have freedom or lack of freedom. Would you drive a car that "feels" funny? most of us do. Does it get us from A to B - probably - that is what counts.
Unless you play a horn and are smart enough to look under the hood, you'll probably get what you get!
I weary of all of this "science" it's a straw man, created by the illusion of the advertisers. Why do players play the horn they play? There are hundreds of reasons. The better players work with the makers, the rest buy stock horns or have a horn picked out for them.
When you switch to a horn it's for the sound, intonation, and comfort of playing. Unless you want to get under the hood -
find a horn you like and stick with it.
If you want to change / don't buy a horn that doesn't feel right but sounds good.
If you really want to have a horn maximized for you and your equipment - spend time with a tech who knows horns and mouthpieces and players.
That is why Bob Reeves became a success. Guys could come and say I want this or that and he did it. There's no way the players can instantly get that kind of experience and knowledge without putting in the years like Bob has.
So trust these guys - there are several of them around who will help.
Buying a horn is like choosing a wife. You have to be in love with it. To just see potential can be a real wreck...without a real good marriage counselor:)
The mainline horns are mainline because they are constructed with solid middle of the road basics that satisfy the needs for the average player. We live in an age where we can purchase a custom horn made by artisans for and about us.
It takes money, time, and dedication. So all you players out there that are waiting for the perfect horn. Nobody is going to drop it in your lap.
Look at the cost of the average symphonic violin used in today's orchestras! And then we complain about paying $3000.00 for a horn. Get real, get lucky, or get after it. Know your sources and use them.
WFIW:) There is more than one place resistance is perceived. Backbore, throat, rim alpha angle and width; plus mouthpiece have more to do with it than the horn. How far the blow is perceived down the leadpipe is another factor, but that is leadpipe. The bore of the horn and size of the bell has much less to do with it.
A 5" bell or a 4.75" bell really only changes the projection pattern and the large bell does make it harder to project on the higher notes. Guys who play in mikes or studios can use whatever they like. Guys who have to project to the back of the room tend to play smaller bell diameters.
Resistance is also a factor of how efficient you blow. If your chops are spread and open you waste air and feel like there is less "resistance". If you play with gently closed lips and a very efficient blow the resistance is perceived as more. Remember the vibrating air column is what carries the sound. The speed and quantity of our breath is nothing more than a vehicle to give us something to "lean" on while the tone is activated.
For instance if you play efficiently and use a #5 warburton BB you perceive a more open free sound. If you play a 7B Warburton the blow is more contained and focused and can feel more resistance up high. If you move up to a 10 Warburton BB it feels like the #5 but is also allowing your chops to open more and you can get more actual air into the leadpipe. Then if you move to an 11* the blow gets much tighter and there is resistance abounding up high. So there is reciprocity between human and the equipment.
Fooling with BB's is a long personal process. Cups on the other hand are pretty basic: S,M,L, Cup, V, Funnel etc and these are more in timbre than resistance.
Next the mouthpiece throat becomes the catalyst for getting the blow you desire. Most Bachs like 25 or 23 or 19 throats for a normal sound. Most Benge or Schilkes or other lightweight horns with larger bells like a 27, 28, or even up to a 30 hole. Then again these are all subject to the cup the BB and the weight of the instrument and which lead-pipe you use.
So the bottom line is that I believe getting a bigger horn may not be THE answer, although it may be one way to at least feel like you are getting what you want. If you hear a certain sound in your mind - chances are that regardless of what you do, your mind is going to get that sound at the expense or gain of more freedom to play. The perception of more resistance from a different horn is in reality not the cause - it is the interaction of you and your mouthpiece to the new horn. It's a lot more constructive to stay with a horn who s sound you like and adapt the little things, than change the horn and then get into and endless trial and error of adaptations that still produce whatever sound the horn has "built into it."
gR
The Killer Instinct
During my playing years my confidence level determined my ability, not my practice level. That's why I called it the killer instinct. Claude Gordon said "Hit it hard, and wish it well"
This is the single most important lesson I EVER learned. It's not ego, it's pure raw confidence that every note is going to come out without even thinking about it.
I had performed over 3000 gigs by my early twenties, and somewhere along the line it dawned on me that when I knew it would work it would.
For a time I took mental Kodak pictures of a great note, or phrase, or gig. When you see it, hear it, then play it without a doubt - with the Killer instinct, you have, or at least I have, no nerves at all.
Having played all kinds of gigs on absolutely painful, swollen, no warm up chops and having them all sound good, I knew playing was 99% between the ears. When I performed folks would come up and say "i was glad you were playing, I never even thought about you missing something." The reason was that I was never worried about missing something.
Discovering Roy Stevens took the pain away from playing, but even on the old flawed embouchure it was the Killer instinct that worked. After Roy - it was just one more level of confidence up.
For me, a big part of the confidence was my set, and my mouthpiece. I trusted both completely.
Life is like that too. When you trust, you obey, and He succeeds:)
FWIW gR
A Valuable lesson learned from a great player and my friend - Be In The Zone
My friend Andy Hagan played the Tropicana for many years. They were all cooped up in a small booth above the stage and the sound and volume was horrific. During that time he developed the ability to mentally shut off everything but himself and play where he heard the pitch in his mind. Andy was the most consistent and in tune player I ever played with. Even when we played with awful intonation throughout the band, Andy was able to focus in and play the center of the pitch. I had the pleasure of working hundreds of gigs next to him, and a lot of his concentration, sound, and intonation rubbed off.
ANDY HAGAN
So many times he could single-handedly bring the pitch center back home for all the players because of his Rock of Consistency.
There is no easy way to battle the bandsmen, but Andy (and now I) can sit in the middle of a fire storm and stay focused.
What surprises me is the number of players who have so little regard for the pitch. They just play away as if they had no ears. Some of this is a carry over from the early days of learning when we are thinking so much about the notes and the fingerings that we didn't even listen to what was coming out of the horn.
It can be learned - it is possible to stay right in the middle regardless of what happens around - including awful acoustics - if you train your mind. For me I am being one with the conductor and the chart. My unconscious is listening to the root pitch and the time. I always rely on the Bass player for the pitch and the high hat for time in commercial playing. In a symphonic setting I am usually in front of the basses and the pitch just seeps into my ears.
It's when we spend more time listening to the players in the section and consciously trying to blend and match every tone , that we wander away and have the "hurt" put on our chops.
I practice a lot with headphones on and it keeps me n the zone and prevents over-blowing. After 30 minutes or so I take them off and discover that my effort is so small and the sound is so nice a big. Pitch takes care of itself and flexibility and security is enhanced.
Long ago I noticed that I could play all day in a studio - because the phones gave me a birds ear listen to the music and kept me from over-blowing and forcing. I always suggest that my students try this technique for a good part of home practice. Relax not resist..
When changing jobs, venues, and styles you must stay in the zone of what you are doing and not get sucked into blowing harder - softer or trying to match every pitch in the room. I think it takes years for most people to get there. But it is possible.
Andy always plays the same dynamics - his forte or piano is always the same. In other words he doesn't let the noise around him sucker him into another mindset. I just can't say enough about all I learned sitting next to him for at least 25 years. gR
Range - How is it developed?
Higher faster louder is what we all want. Right? Well let me be honest; HFL will only get you so far as a player. It has nothing to do with musicianship, or sight-reading, or tone. So at the most it is one fourth of the platform we build on.
That being said I want you to build range properly.
If you have a firm foundation you can build a skyscraper. If you widen the foundation you can build it higher. Range does not take raw muscle power and strong "lip" muscles. Range is the end product of developing the proper "swing strength" to use a golf phrase.
Range is just playing. When you were a beginner you had some low middle and higher notes and then they expanded. The same way you developed the range you have now is the way you expand that range. There is no secret to it. It is just the natural development of the trumpet player.
I always expected my trumpet students to have the range of F above High C in there upper High School grades. I believe that is the average amount of time , assuming you start playing in 4th or 5th grade.
To move above High F is more of the same except that do to the harmonic nature of the trumpet your equipment needs to be correctly balanced with your body to allow these higher notes a natural development. It makes no difference whether you play a Schilke 24 or a Purviance P1 - As long as the equipment is balanced for your body and the sound you want - range will always be available if you are willing to work.
Here is what I do for extending range:
Lots of HL Clarke studies played softly and repeated hundreds of times.I start with the exercises at the bottom of the staff - not below the staff - and then spread them out in both directions. I breath a comfortably full breath and turn it right around without a break into the exercise. Think of a count-off and breathe in for: 1,2,3 then exhale on 4. Count in the tempo of the exercise and I like to use a metronome .
Pulse the air as you go at the beginning of each phrase. This keeps you relaxed. When you reach the end sustain the last note and relax - let the note gradually fall away as you empty the air. This trains you to 1. prepare your body to play - 2. relax while playing - 3. maintain the relaxation to the end of your air.
I play lots and lots of tunes. Simple hymns or songs. Each time I reach the end of a phrase I relax and take as much air as I did at the beginning of the piece. To learn a quick catch breath that keeps you fresh while playing do this:
Sustain a tone for 8 counts and breath and allow the 8th beat to release a bit early while you breath in around the corners of the mouthpiece. Relax and then turn that air right back into the tone as beat 9 comes. Then play this second tone for 12 counts, take your catch breath and go on the third tone for 16 beats. Continue this remembering to be efficient and relaxed at each catch breath. Allow the air to be "gulped" down easily, without disturbing the chops.
This exercise will allow you to sustain a full relaxed toned through long songs and exercises.
Remember to rest as much as you play. I ALWAYS RECORDED WHILE I PLAY. Then after I have done a nice amount of work , and have not yet gotten tired, I listen back to what I played. Very helpful to self correct mentally during playback.
Another way to develop range is employ a buoyant embouchure. This happens when you allow the airflow to cover your lips 360° around on the inside. Not really puffing but feeling the warmth and pillow of the air leaning against the front of your face and then you tell the chops to just stay in that nice closed, gentle, position as you add and subtract the air.
A word about pedal tones. I can play wonderful pedal tones when I am in shape. If I use pedal tones to develop my range I fail. What happens is that working on pedal tones for more than a few minutes can spread your chops open , and allow them to "chase the air" into the cup. Pedal tones a great for opening up your lung capacity and teaching relaxation, but unless you have a private teacher guiding you, there is a good chance they will cause more harm than good.
If I am a little tight from playing I will breathe out several pedal tones or descend scales into the pedal range. I can play tunes down there - but I am aware that my chops are not pooofing into the cup or spitting them out . They will get the blood flowing, and make you relax - yes - but be careful. As I said - When you are in great shape those puppies just play themselves - but they are the result of good practice and playing and not the path to develop great playing.
If you have not yet bought the download of AirPlay you need to do it to get a real picture of how the buoyant embouchure works.
I play etudes, Arbans, Walter M. Smith, all the Clarkes, over and over hundreds of times . When I began developing as a player I was 13 years old. I always played at least 2 hours throughout the day. As I matured the time increased to 3,4, and now I play at least 5 hours a day.
I don't think about range because range is merely a by-product of relaxed thoughtful repetitive practice and a consistent basis.
I will tell you what will hurt your range development:
° Trying to play higher than you can. ° Over-blowing ° Practicing to the point of tension and pain ° Left arm pressure to squeeze your chops tighter ° Pulling out a tiny cup to squeal a few high notes ° Not warming up
You must ALWAYS pace yourself. The pros know how to do this and on the whole pro players use only about 90% of their chops on gigs and practice. That 10% cushion is a reserve we do not want to dip into - it is there for preservation. That 10% will be constantly growing a little higher a little louder and a little faster - which means you are beginning to expand your bubble of dynamics, facility, and range.
I will say dogmatically that you CAN and WILL hit ceilings, and stay there for months until your body is ready to move on - don't stop being smart in your practice.
Yes! you can play 7 days a week, as long as you are smart about it. Yes! you can practice these things systematically every day and accomplish your academic requirements.
You must have a study plan and enjoy the practice process to get better. There is NO end to what you can achieve if you pay the price of practice and consistency balanced with moderation.
Here are simple "HLC Style" exercises I use to build my foundation. Breath often, rest when you need it. Maintain a clear free tone. Download is free:) PDF 1
I have very good success having students learn to breath in slowly and turn the air right back around with no break. After repeating this many times hold the mouthpiece to the lips and repeat with only breath through the mouthpiece Lastly think: "breathe in counts 1,2,3 and on 4 turn the air around and breath out."
Then apply to an actual vibrating tone using an air attack. Once you feel the natural cycle the tension goes away because you have replaced a negative fear with a positive cycle of events. Postre is very important - see picture. You must keep a full clear path from the elt to the mouthpiece. No crimps in the line.
Tension is and acquired negative. In order to replace it with an applied positive you should repeat the correct action at least a hundred times. Thinking about the process during performance is not a good thing. It should become a part of your kinetic process - motor muscle memory...
This is FWIW...
I have owned several Schilke horns and multitudes of other makes. Without exception in MY experience changing the finger button(s) does change the feel of the blow, resistance and ring of the horn.
In fact I am so picky that I must have the buttons in the correct order to provide optimum results.
Now if you are a heavy pressure blood and guts type of player with a gigantic heavy mouthpiece you will never feel any difference. In my case I am a feel player who gets the most for his buck out of an instrument. I purchased many, many sets of buttons for all of my horns and in a few cases decided on third party options -
however I would state that generally I would never buy buttons because they look nice or feel good on the tips of my fingers.
Dave Monette gets away with a lot of this trim "jewelry" because his horns are massive and solid as rocks. ..IMO
I just post this as a notice for young players who buy the prettiest horns, that are shiny and that their moms like. Trumpets are fine instruments tooled to exact specifications and anytime you change things you need to know what you are doing.
This can carry over to heavy caps, grip guards, grime gutters, intensifiers, and on and on.
Bottom line: Just because it's pretty doesn't make it play right! FWIW gR
Another post in response to the Curry light's on a Schilke.. If you you really listen to the sound with the Curry light caps it has less of the 300-500Hz center. This is not bad or good but it is "different" if you love the sound go for it. But if you have a little trouble hearing yourself behind the horn that can be the reason. I really love Mark's work and when I want a different cap he is the man.
Don't lose WEIGHT!
When you play a simple scale from F up to F (in the staff) take care not to lose the the weight of the rim against the lower lip (or just below the lower lip depending on your placement)
If you are losing the weight there something in your embouchure is shifting, most generally the lower jaw and teeth are receding as you ascend - this shifts the weight to the upper lip and further constricts the vibrating surface.
When you set up to play, you must use only a slight amount of left arm pressure to seal the lips within the rim. Do your best to apply 60 or 70% of that weight on the lower lip. This leaves the remaining weight to hold the top lip in position while allowing the freedom of vibration necessary for clarity of tone.
One indication of the improper weight shift is the loss of the brilliance or clarity or presence of the tone as you ascend. Most players begin this subtle weight shift much lower in the staff than you would expect - often as low as the bottom line E.
REMEMBER - Weight is used sparingly. To focus on the weight alone, often increases the pressure on your lips. We need to apply only the amount of pressure for security of the seal we must also recognize that the embouchure itself is dynamic and supplies a return resistance opposing the weight of the rim. It is quite possible to use so little pressure that you actually tighten the red of the lip in order to get it to vibrate - I will not go in to this mechanic here and now) suffice it to say that to little pressure can be as negative as too much.
I warn you that great care must be exercised when considering this delicate balance. You must never become overly conscious or distracted by the weight issue when performing. This must be committed to motor muscle reflex memory during dedicated practice. The HLC exercises are excellent for this.
Another interesting action is that often players find that a VERY SLIGHT shift of weight from bottom to top by way of a tilt up of the horn when descending below the staff. If the slight lift frees the lower range and produces a clear free vibration then it is preferable to separating the lips or pushing the lips into the cup to produce the lower tones.
Alyson Balsom is a fine example of this subtle shift to the lower range - many videos of her in performance are found on YouTube.
NOTE: even if you play with a receded jaw or in a downstream manner - this weight distribution description will increase your vibrancy and endurance.
Play Lightly - not softly 2.13.11
So often if we are thinking soft we unconsciously let up on our air support. If we think light we maintain the support and allow the lips to lightly release our sound.
This is how I practice light playing. I play mp notes slowly with a staccato tongue. This reminds me how little force is actually required to play. Then I gradually attack lighter and lighter until the notes are almost without attack. The air itself floats them. When the notes are coming light and easy I begin to play exercises from Clarke, or Arban, or by ear.
I do my best to keep this up for a good length of time, with frequent rest. I then move on to hymn tunes or the classics in the back of the Arbans book. Playing lightly and separated staccato. Whenever I feel tension in my tongue I stop and refocus my intent. I continue this style of practice for as much as 10 - 16 minutes.
The results are a more efficient sound. Much more confidence when playing light or soft passages in concert. The by-product is increased stamina and range - believe it or not.
Playing efficiently is the key to range and endurance and this is one of many ways to accomplish these attributes.
gR
Simple Focus and Economy 1.30.11
Designing my new gRawlin trumpet has brought focus and economy to the forefront of my approach to the instrument.
In the back of Arbans there is a nice long selection of tunes. Lyrical pieces designed to bring the educational aspects of playing under the control of a musical focus and economy. I am also fond of the duets as well. As a boy, I and my father sat in the basement of 16877 Cruise Ave. in Detroit and played these duets over and over. He on the Eb Soprano cornet and I on the little Olds Recording Cornet.
My dad never missed. His sound was always musical. We played with a musical tempo. Rubato abounded and the freedom of two players following each other was at a peak.
These were the finest hours of training I experienced. When times are tough or life an obstacle my mind floats back to that basement with my dad and I playing duets every day after school. He never said much - we just played, I listened and learned.
There is no better way to practice as a young boy than with his dad, or brother or mother. My mom played also. In fact we often performed Bugler's Holiday ...
The Use of Focus and Economy implies a free spirit. I ask that you free your hearts of worry when you practice. Find a buddy to play with, or settle in with some real music to enjoy. Sure there are pop tunes, and classical, and other styles, but for the pure development of musicianship hymns, operatic excerpts are the best IMO.
So you don't like that music? Have you ever played it ? Have you experienced the joy of a simple tune winding it's way from your heart through the mouth, fingers, and bell. Have you listened to the sound as if you were in the next room while you played a simple melody.
This is focus - this is economy.
No blasting away - no finger busters - no multiple tongueing - just pure music.
Record yourself and listen back. Play duets with yourself. Learn to love the sound of a well phrased melody.
This is focus and economy.
If you have missed this experience don't wait another day. Let the music take you where you want to go... gR
First of all there is more to lip slurs than the lips. Fact is the lips are a small portion of the control mechanism.
Let's
start with middle G up to C and back. Now C down to middle G. The slur
down is always easier, but it is also the secret that shows you what you
are doing correctly or incorrectly.
Slurring down will reveal
which options you use to slur. Do your lips relax to slur down, do they
open, does your air slow, does the pressure from your mouthpiece
decrease?
These can all be present - the goal is to train the correct employment of the combination of these tools.
Here is the breakdown.:
When
you slur your mind decides in a split second what you will do. If you
have practiced and conditioned your entire embouchure to work together
correctly through concentrated practice, then your mind will decide
correctly and slurring will be not only clean and pure, but simple and
automatic.
Slurring is not unlike shooting a pool ball into a
pocket or hitting a baseball, or returning a tennis ball. It happens
without conscious thought, but after your mind and body hove agreed on what is to be employed - in the practice room.
So here are the building blocks of nice clean slurs:
A) Your lips need to be supple not tense B) Your air must increase or decrease in a relaxed and pulsing manner. Much like when singing the slur. C)
The mind sees the slur, your ears hear the slur, your air pulses or
relaxes, and lastly your lips respond to the air to resist it and
maintain their degree of "togetherness", or to not resist allowing the
lips to relax to the correct degree of "togetherness".
In
step A you practice this by performing air attacks - letting the sound
come from a simple exhalation and then sustain by continuing the steady
airflow and maintain the "togetherness" of the lips.
In step B
you develop air quantity and speed control by practicing crescendos and
decrescendos while maintain a pure sound. Do these on a low tone, middle
tone, high tone, in order to learn to float the soft to loud to soft on
the air, and to not let the air form a Bubble or point of expansion in
the front of the mouth. This expansion traps the embouchure muscles
into the process of keeping the lips from pulling apart and stops
allowing the air to activate the muscles to the sides and below the lips
which cause the lips to come together.
Your air must come from the back of the throat and lungs as if saying aah or fogging up a mirror.
In
step C you combine the increase or decrease of air with the will to
either maintain the lips (go higher) or relax the lips ( going lower).
In my experience the tongue action is an expansion or thickening from
the mid and front portion acting as a rudder to SLIGHTLY assist the air
speed by compression or decompression. This subtle action of the tongue
is the single most perceived action in the performance of the slur. But
in reality it is not the cause of the slur. It is the fine tuning
mechanism that allows the precise and clean control of the slur at a
specific tempo.
Practice these things with a metronome and
perform simple slurs between two adjacent notes in an up and don fashion
1000's of times. Keep this practice as the final section of a
'DEVELOPING SLURS' session. I suggest you spend 10 to 15 minutes at a
time on slurring and then rest at least 15 minutes before resuming or
moving on.
Fun Licks - Impress your friends:) 12.30.10
Use this fingering pattern in an upward slur: 1<2<0,< 1<2-<0< and repeat as triplet figure starting on bottom Bb and continuing up to High D.
Try this one: 1<0>1>13<1<0 start on low Bb up to C down to Bb down to low G up to Bb up to low C then repeat from the next mode of resonance (bottom space F) go up as high as comfortable.
Try this:
3<0<3<0<3>0>3>0 repeat as arpeggio faster and faster. A minor then use : 2<23<2<23<2>23>2>23 and repeat. B major
These fun little licks played quickly sound like you've spent hours on them - and they assist your flexibility prowess.
Solo Preparation - 12.29.10
I always insist that students memorize all solos. After this is accomplished mental focus can be prioritized to performance perfection. The process begins by playing the piece entirely through at least 2 times each practice period. Next the choice of sectionalizing is determined by comfort level. Choose the sections that are the least comfortable and sub-divide them into bite sized pieces. Allison Balsom
Play the piece, record the piece, listen, repeat. Take the next piece and repeat until the entire section falls into the comfortable category. The technical aspects should at all times be conformed to the writers stylistic directions. when in doubt listen to the piece on CD or Mp3 as performed by as many artists as are available.
Most students ignore dynamics, or relegate them into the width of dynamic character they are comfortable with.You must come to the piece with an understanding of what the softest and loudest portions should sound like. Is your Piano the same as what the composer had in mind. Unfortunately many recordings mask the true depth of dynamic content by applying compression to the audio file.
Seek a competent professional or teacher to help you make these critical decisions. It does little good to prepare a technically solid performance if the dynamics are compromised or the style is slighted.
Vibrato is another decision that can be objective or subjective. As I listen to a variety of performers play the same piece, I realize that vibrato can vary from player to player. Perhaps this is the single area that will make the piece "your own."
Beware of unusually fast or wide vibratos. You never want to draw attention to them. They should be felt but not heard.
Pitch is the most subtle entity to master. When playing with an ensemble, orchestra, or piano the pitch must be tempered to accommodate the norm of the entire ensemble.
Understanding where the pitch lies on each note at each volume available on your instrument is a basic skill, often overlooked, and having significant influence on the listener. In contest scenarios pitch will make or break the performance.
While perfection is seldom attained the confidence, style, tone, and technique of the player will often sum together yielding success or failure.
Know the piece, Know the composer, Know your instrument, and Know your audience.
The more you perform the piece before a live group of listeners the more comfortable you become. Play for your family, your neighbors, fiends, teachers, dogs, cats. When you step on the final performance stage you will succeed! Good Practice makes good luck gR
Scale Studies - Dec. 25, 2010
I always suggest that young students learn the chromatic scale ASAP. Next are sharp keys starting with C#. Then the flat keys starting with Cb.
The easiest way to get a scale under your fingers is to learn it in halves. The first 4 notes and the last four notes. These are called tetra-chords. c-d-e-f is the 1st tetra-chord in the C scale then g-a-b-c is the second.
Wrap your fingers around the feel of the fingerings. Play each tetra-chord thousands of times. There is no reason any average student cannot play fluently in all 12 major scales by the end of the first year of study.
ws-ws-hs, ws-ws-ws-hs this is the outline for any major scale.
Every day I play all 12 scales starting with F#. That's just my thing. For me playing so many theatrical, or show charts with singers - the sharp keys are my bread and butter.
Never be afraid of using alternate fingering to help in difficult passages. Learn what they are and how they allow you to use "contrary" motion for a solid pop to the slurred scale. Contrary motion is when you lengthen the horn and yet move up to the next step in the scale. Conversely when you shorten the instrument when descending.
Understanding how things work. A lifetime pursuit - here are a few tips.
Students often complain of resistance in the notes from C in the staff to A above the staff. The reality is that as the modes of resonance become close together the notes often feel farther apart. This can be interpreted "stuffy". Other players find the lower range sharper than the upper. Still others complain that the notes above High D become much more difficult to play.
All of these present frustration, and in some cases seem un-solvable. The answer for these sticky issues is only discovered through persistent trial and error, and the wisdom of professional counsel. I venture to say that the majority of you struggling with these issues are caught up in the trap of attempting to solve the issue through practice. "If I practice enough I can overcome this thing." Wrong. You may never overcome the issue!
You must step back and take an objective look at the thing. Let's suppose you have difficulty slurring from C in the Staff to E top space. You have worked forever on it to no avail. The first thing to try is to ask a friend to play the slur on your horn and see what results he has. Assuming this player regularly has no issue with the slur on his or her horn you can see and hear instantly whether they play the slur easily - which means you have a personal mechanical problem, or if they too cannot perform the slur - which means the issue is with your equipment.
Ok i have presented one scenario to define how any given problem can be diagnosed as internal, or external. You or the equipment. Now I want to give you several examples which can remedy this particular problem, and from this list your mind will be opened to new diagnostic approaches.
1. The mouthpiece must fit the receiver properly - it cannot wiggle, stop short, or go in the receiver too far. 2. Your instrument is filthy inside. 3. You may have a dent in a crucial area such as the bell bow or the tuning slide or the lead-pipe. 4. You may have a mis-match between your natural core of air and support, and the bore of the instrument, the shape of the bell, or the lead-pipe from the factory. 5. It is often the case that solder from the factory is caught inside the instrument in critical areas. 6. The 2nd valve slide may have been installed improperly at the factory 7. You may set your tuning slide to the improper position. 8. The shank of the mouthpiece may be pinched. 9. The aftermarket heavy caps can definitely make or ruin your horn..
A. You are pursing your lips to move up and then trapping them so they don't relax on the way down. B. Your tongue is rising in the back of the mouth and not towards the front. C. You are depending on left arm pressure. D. Your lower lip is rising up and back as you slur. E. You are not allowing the air to continue flowing between the notes in order to make the end of one note become the beginning of the next note F. Your lips are opening to move down from the upper note and stick in that position and are unable to return to the upper note. G. You are using an open lip embouchure. H. You may be "lipping" the pitch" or manipulating the pitch with
your tongue to the exclusion of certain basic trumpet skills - i.e.
slurring in the mid range.
With this short list I hope you are beginning to see out of the box, and understand more of what professional players have seen, and capitalized upon.
Let me finish this tip with a broad and most likely to general a statement:)
If you have an instrument balanced to your playing style and method you should NEVER be stuck on a particular mechanical challenge for more than a week or so. The instrument must have the same "blow" on each valve combination and open horn. The overtones should be the same. The tone should remain constant from low to high, and the instrument should respond to your very softest attacks.
You need not buy a new instrument to find a horn that accomplishes all of these. I own an instrument manufactured in 1927 that outperforms several of my "newer better" models. There is nothing new under the sun - Players in the 1800's experienced the same learning curve as present day players. The difference is that today's players have a large pool of information to draw on.
I trust you find this website an inspirational informational lighthouse for years to come. gR San Diego 12.22.10
Why players choose certain horns - Does your instrument SPEAK?
Think about this. You spend your time working on sound, and accomplish what you aimed for. Is this the end of it? - you stay with what you have and move on to focus on the hundreds of other pieces of the puzzle. Well here is a puzzle piece I think all of us need to be aware ofin the process:
How quickly does your horn speak, and where is the blow in the horn. What - you say?
The "speak" means the response to the least amount of effort from the player required to initiate a clear pure tone. The Blow is how far down the lead-pipe it is to where you feel the speak occur.
Malcomb McNab says that in the studios a player can sit for long periods of time without playing; then come in and play beautifully. As a result he has chosen an instrument which "speaks" quickly and easily. For him it is a little smaller bore and some tweaking in the lead-pipe.
I have a theory that uses the Bach 43 and the 37 for comparisons. The theory is that the "blow" is further down the lead-pipe on the 43 - allowing powerful players using high velocity mouthpieces and desiring a commercial sound to play hour after hour with a consistent sound and degree of ease.
The 37 has the blow closer to the mouthpiece and yet "feeling" bigger than the 43, while in fact the sound is slightly brighter. The 37 speaks quicker and responds well with a larger mouthpiece diameter and throat than the 43. This allows both the commercial and the symphonic player to come in "cold" so to speak after a long rest, and produce clear pure sounds much easier than the 43 does.
Now - after playing either the 37 or the 43 the player will "adapt" to the blow and the speak and not really notice a difference. However that difference DOES make a difference in the effort the player uses.
The choice is yours, but understanding the nuance of the Speak and the Blow will assist you in choosing an instrument. Next time to test a new horn, play softly in the mid range and be aware of how easily the instrument responds to your desire. While it may not be a "deal breaker" between horns, it will give you insight as to how you will play in delicate situations where long rests and critical playing occur.
For me - when I was young I played horns with the blow way down the pipe and I was fine. Now that I play more church, solo, classical, and pops types of things I prefer a quicker speak, smaller bore, and a blow that comes right at the beginning of the lead-pipe.
The Bach 43 and 37 is just a comparison that will be understood by the majority of players. Once you have the concept n mind the theory may be easily used between all types of horns.
Speak and blow - try it! Listen to Malcomb describe it:
Play a relaxed scale and land on a long tone. Aim your bell into a wall corner and cup your right hand around your right ear. Listen for the intensity of the sound. A good pure tone will actually feel "heavy" when it hits the eardrum. Now gently experiment with various degrees of "control" on your aperture. Do this by using a tiny bit more contraction and then a tiny bit more air. You want the balance of contraction and air support to balance so that the tone floats out. You will discover that you are most likely using more force than necessary to produce a clear vibrant tone.
You know your own limitations, so do not make this a embouchure change test - keep it to minor feeling adjustments that are readily reproduced. Now move up and down same fingering arpeggios and maintain the same intensity - or heaviness against the eardrum as you listen.
You will actually experience a ringing in your ears and some discomfort (even with soft playing) when the sound is pure and centered.
Next play naturally into an open room and notice that your perception of sound is more defined after spending time playing into the corner with your ear cupped.
Return to this test often to determine if you have changed your sound and then re-tune it to bring it back into your optimum gR
Part two: Understanding the foundation of a pure tone
Whether we want to hear it or not. The fact is that some people are better built for trumpet playing than others. Our task is to level the road. Take what we have and use it to present a beautiful, gorgeous, liquid, musical tone.
"Tom Stevens"
Our teeth, jaw, tongue, lips, throat, spatial arch etc. must all work together to support the beautiful tone.
My instruction is best served one on one. I speak to the individual with regard to their unique situation. Here on the web I speak to thousands of uniquely wonderful individuals. I speak in generalities and YOU the student become the interpreter, the practitioner, the teacher, the master, based on two things: How well I present the information, and how well you adapt that information to your unique attributes.
To say that the closed lips meet in the center of teeth opened about .5 inch with relaxed air and the bull dog isometric used to control the aperture means nothing without the "play-testing" you do in your practice.
To understand the foundation of your tone is to take the principles and apply them within the context of both your understanding and your physical make up.
The top lip and exposure to the expelled air is first and foremost the true apogee of a pure tone.
That top lip must be free to vibrate from side to side as wide as the rim, from up to down as deep as the distance from top rim to lower lip, and in and out in balance with the depth of the cup. Here is where MOST of the error occurs. The truth is that you can approach the ideal set up and tone and achieve nice results but stop short of where you could be. A little improvement may be what one player needs to reach the goal line, and a 60 yard hail Mary is what another must accomplish for the same result.
The fact is that the top lip deserves more attention than we give it. By tugging down on that small piece of real estate we can control the entire embouchure! Playtesting by ascending and descending scales at various volumes while producing a clear, open, and free tone, trains us, teaches us what the top lip can and must do for success.
For some slight control for others much more. The secret to tone, endurance, and flexibility is contained in understanding both the function and position of the top lip in relation to the entire embouchure.
What is the core of your sound? Can it be described as: airy, light, heavy, bright, dark, fluid, musical etc? These descriptions don't help, other than to focus your attention on an attribute of your sound. The core sound is not an attribute, it is the sound itself in total.
If you attempt to change your sound by focusing on just one attribute, such as brightness; you do nothing to improve or develop a beautifully sonorous solid core. You have merely taken whichever attribute you decided to change and twist that around to what you only perceive to be "better."
If you cook a steak, and prepare it well, use the proper seasonings, have a great grill at the proper temperature and cook it to a perfect medium, or rare, this does not mean that steak will taste great.
It is the quality of the meat that is of utmost importance. So it is with the sound. Your core sound must be of high quality or it will never sound great.
So how do you know the difference between grade A and grade C meat? There is a standard that must be met.(To examine the quality of meat from the USDA's point of reference click here
It is just as demanding as determining the quality of a world class trumpet sound:))
What is the standard for a great sound? Where do you hear the great sound?
Listening to established performers whom have risen to the top of the craft and are recognized internationally as the standard bearers of great core sound.
This is very different than choosing your favorite player.
It is understanding that there is a consistency across genres of a great sound. Bud Herseth, Uan Racey, Malcomb McNab, Phil Smith, Tim Morrison, Maurice Andre. Players in this class have a uniformity of sound, a core of sound that is more than the sum of the parts.
What makes up this sound quality? First off, it is in the ears of these great players. Then in the choices of equipment, and then balance of body to trumpet. Years of practice, control of each sound produced, and finally the consistency of production that allows them to be identified by that singular quality of the great sound.
I will start you on the path of determining your core sound quality with the following suggestions:
Begin with a properly constructed professional instrument. Tight Valve compression, no leaks, severe dents, and clean inside and out. Next use a well made mouthpiece. Use a throat backbore combination that allows you to sense a continuous flow of sound from mouth to bell. Next use a mouthpiece rim diameter that compliments the space and size of your lips and teeth. You should be able to produce soft even tones in the center of the staff, without excess tension or pressure.
Now practice bottom line E or bottom space F by employing a circular rotation of air such as one two three inhale exhale and continue the vibration with an economy of support and mouth cavity volume. Allow the tone to vibrate from throat to bell as a uniform entity. Feel as much sound inside as outside the body.
Allow the sound to move at it's own speed. Forming an imaginary tube of vibration all equally resonating from beginning to end.
Listen to the sound and allow the overtones room to express themselves. Allow the horn to vibrate in your hands and listen to the sound returning from the nearest wall or floor as a continuous loop.
Feel the unity of vibration from body to first point of reflection and back to your ears. Do not let tension dampen the overtones.
Do this thousands of times over several days until it becomes your sound. Move ahead into tunes, melodies, scales, and arpeggios. Notice how the sonority allows you move intervals without breaks or changes in harmonic content. eliminate the "lipping" for flat D's and sharp A's. Allow the natural intonation of the instrument to come forth.
Play down when you go up, and play up when you go down. Use your saddles or triggers to compensate, and avoid squeezing and puffing to manipulate the pitch.
Learn your horns intonation issues, and deal with them through sonority and not manipulation. If you play flatter and flatter as you ascend, speak with a horn tech about increasing the throat size or altering the length of the venturi, or adjusting the gap.
end first discussion gR
October 27,2002 A Rotation program for building power and endurance over a short period of time.
I like to use this routine every other month or so. The goal is maximizing my sound, power, control, and endurance. It is not a range builder, but can yield those results.
It goes like this:
Day 1. Warm up softly for 10 or 15 minutes on a very large mouthpiece. Allow your lips to fit the cup so that they are still closed in the center and about 1/3 top 2/3rds bottom. Make sure to let the air column cushion the bottom lip area under the rim, and float the sounds without "lipping" them up or down. Stay in an easy range and after the warm up begin to play strong full tones using a complete breath on each note.
Day. 2 Same as day 1 but for only 5 or 10 minutes. Then move to a little smaller diameter cup mouthpiece and play forte scales below and in the stave - not above the stave.
Day 3. Repeat Day 1 and 2 then add on 10 more minutes with again a little smaller diameter cup. This time when you get to the smaller diameter work one and two octave scales, Clarke Studies and melodies at a very full and controlled volume up to high C.
Day 4. Start with Day 2 - then day 3 and then rest 30 or 45 minutes and resume your regular practice routine for at least 30 minutes. Rest about 30 minutes and do the Day 1 scenario (like a warm up) and then move to a yet smaller mouthpiece and work ascending scales, phrases that last just one complete exhalation as far up as you can maintain a full controlled sound.
Days 5 and 6 repeat Day 4 in total / moving bigger, fuller, higher and longer. Incorporate soaring lines, or melodic phrases.
Day 7 return to your normal regime and notice the improvement.
Oct. 18, 2010 What size mouthpiece should I play?
Probably the most asked question on gRawlin.com Most players are using too big a piece. They start with a 7C and then can't wait to get down to a 1c or 1.5C. The teachers fall into this trap, because you sound bigger on a big piece, right? Not really. Ok then you want to play high notes so you get a very tiny JetTone or a 10.5C and squeal out some high notes. You sound brighter right? Not necessarily so.
The truth is that choosing an extreme piece is not the thing to do.
How may great symphonic players are there? A very few. How many great lead players are there? Just a few in each town. These players are the minority and use extreme pieces because that is what they do - play big and full, or big and high.
The average player does not play in a symphony or lead in a big band. Most of us fall in between the extremes. We are not playing full time, and our living does not depend on it. Yet still we fall into the extreme trap.
Adolph Herseth played in the Chicago symphony for years on a Bach 7C size piece. Then had an accident and needed a wider rim he could feel, so he went to the Bach 1. All of a sudden everyone went to a Bach 1ish piece because that was what Bud played.
Conrad Gozzo played a 7C size. In fact if you average out the mouthpiece sizes across the board fo pro players you end up between a 5 and a 7 Bach size.
You have to have a really good sense of what sound you want and then use the most efficient piece to play with.
Yes for a few it will be BIG and for a few it will be small. But for the vast majority it will be in the middle.
I put this into my gRawlin tops - the average rim width is around a 7C. Some players think my pieces are a Bach 1.5 size and some say it feels like a 10.5C size. The shape of the rim and the high point on the rim make it comfortable for most players, but in reality they are not extreme rim widths.
The more important aspects of a quality piece are the cup contours, the inner bite, the depth, and the amount of the second cup.
So make sure you are not playing a large or a very small piece just because "that's what orchestral guys do, or that's what the lead players do." Start in the middle and work from there until you get your sound with the least effort and the maximum result.
Of course I suggest the gRawlin tops, but I am but one of hundreds of makers of fine pieces. Choose what is right - not what is popular. I have seen too many players messed up just because they believed Bigger was Better!
One of my favorite pictures of Chet Baker.
He could be the poster boy of AirPlay. Look at those corners. Check out that lower lip! The relaxation. The air hitting below and all around the chops. The chin rising. The air filling the cheeks without pulling back and up on the corners. Now if we could just hear what he was playing.....very cool man:)
5. 24.10 In your Practice - Work on Sound first. Then Technical studies
This graph shows an overlay printout of all 7 fingerings. The desire is to have each fingering similar to the others. This not only feels better, but also allows the maximum harmonic content. This is with my commercial mouthpiece and as you see the predominant weight is between 1K & 2KHz. As detailed below the legit sound is weighted more in the 400 - 500Hz range. An interesting discovery was made when I took live recordings of Doc when I was on stage in the trumpet section and he was playing acapella solo out front. His weight was always right on the 450Hz mark.
The Herbert L. Clarke studies are my "bible" for technical work. Through the years I have memorized the studies in all the HLC books and use them as one of the foundations of my daily practice.
I have learned that when I work on the sound first, I accomplish much more technically. Here is a brief description of the process:
After I feel warmed up I concentrate on the core of the tone. Usually I play into the corner of my room about 20 feet away. I can hear the sound return in both ears and at that distance the tone has had time to develop. You can cup your hand around your ear and listen the return sound and judge the focus by the "weight" of the sound hitting your ear drum. It takes a while to develop a sound with that thump in the middle that can actually feel painful, and yet the volume may be only mf !
My choice of mouthpiece and cup depends on what sound I am working on, but regardless I want to hear as many first reflections as possible. I use an app on my ITouch to show me the decibels I produce and start with around 80dB. I listen to the spectrum of sound at 80dB on middle G then move slowly up and down, spreading out the range to one octave at 80dB.
I know the core is relaxed when I am not working to keep each note a 80dB. Then repeat moving through the octave and increasing by 5 dB on each pass. Often you are fooled into thinking the sound is more or less focused or louder or softer than they really are. The dB meter and the hand test give you a pretty accurate image of what is going on the different notes. This is not always possible by listening to a recording because the mike and speakers cannot reproduce the live sound.
After this I switch to another App that gives me a frequency analysis of my tone. If I am working on a legit or symphonic sound I look for the 300-500hZ range to be activated equally and moving as a unit. If I move to a low F# I still want to see this range solid and undiminished. The same for all the way to high C.
If I am seeking a commercial sound I look for the 400-500hZ range to be less than the 1K-2K range. I change cups, and or mouthpieces to achieve this. It is very important to understand that the mouthpiece has much more to do with tone color than the instrument . I have a very small 1927 Martin trumpet that specs out the same as my 37 Bach on the analyzer with very minor differences. The mouthpiece is doing the same things on both of the two trumpets.
The last detail I'll cover for today is the resistance we feel as we move from one mode of resonance to another during tone practice. The range from D in the staff to High C must not close in on you. It cannot feel tighter or more resistant as you move through. If it does there are a few possibilities:
1. You are tightening your mouth and lips, and closing the cavity inside your mouth. 2. Your valves are not aligned properly - this is a big deal! 3. You have the wrong backbore or throat size in the mouthpiece. You have not allowed the chops to float and react on the pulsing air column - this is almost always caused by tension exhalations.
It is important to remember that there must be balance between your physical set up and your equipment. Inferior or improperly set up equipment always makes you work harder than you should. Conversely improper balance in your body creates as many - if not more - problems in your tone and playing.
Now after you have a clear, buoyant sound and an even tone going for you start the technical exercises and notice HOW MUCH BETTER they play.
The hidden secret to great technique is the mastery of your sound and tone. Your balance between body and instrument.
gR
September 18, 2010 How the lip interacts with the mouthpiece
Consider three points of contact on the rim. 1. The outer edge 2. The bite or inner edge where the alpha angle begins (see gR mouthpiece page) 3. The high point or top plane of the rim
When you place the rim on your chops you need to: 1. Place the rim at the same angle, pressure, and rotation, every time. By rotation I mean that if you play a phrase then rotate the rim 15° and try again. Continue around the rim until the best feeling and sounding position is found. Then use that every time you play!
2. If you must tug the top lip down below the top teeth make sure you are placing only the needed vibrating area below the teeth. Excess top lip will blow out easily into the cup, given a bigger fatter sound, but robbing you of control and accuracy.
3. It will feel to most players like there is 75% of the bottom lip in the rim - this is usually an illusion. Use your fingers to get the feel of the point on the lower lip, or below the lower lip that is correct for you.
4. Make sure you always allow the outer red of the top lip to very slightly roll in enough to touch the very beginning of the moist inner red of the bottom lip. This position will appear different for every player, but is vital in order to release the tone with minimum pressure and maximum control.
The inner bite has more "area" than most rims. This allows a swinging door that has room for small and large, thin or thick lips. Because it is smooth and gentle arched, the chops can vibrate to extreme volumes of soft and loud without the temptation to spread the lips open or pooch them into the cup deeply.
The high point or plane or layer - however you perceive it is the most innovative design aspect of the grawlin rim contour. This is a much wider area with a very smooth roll-off on both inner and outer contours. This makes it possible for players with any shape or size lips to place the rim comfortably.
The outer edge is not nearly as defined as on most mouthpieces. This provides a cushion that allows players with crooked or jagged teeth to set the rim much more comfortably. At the same time it allows players to set the rim higher or lower on the upper lip without thinning or flattening their entire lip surface.
The result is the most accommodating rim on the market. This design is culmination of years of play-testing and design. Improving on the original Roy Stevens rim by allowing any player with any placement to accommodate to the rim easily, and enjoy extended endurance even if higher than usual pressures are employed on top or bottom lips.
These two videos show some valuable tips on developing a massive tone within the context of AirPlay. Also shows the worth of doing these type exercises with a very large mouthpiece.
In these cases a Schilke 18- with one of my custom gRawlin Rims. These are not available yet as the individual cost is very high - but soon....:)
Picture Sequences of the lower lip before playing, during, and
after release of note. These are frames from a video in order to capture
the moment as authentically as I could. The mouthpiece gets in the way
of a good view so this will give you a better view.
The point I am
making is that although the set remains the same the image from outside
the mouthpiece will appear however your anatomy reflects it.
It is hard
to look in a mirror and tell whether you are lined up or not.
This
should help you be your own best teacher.
Now you understand that
it's "what goes on inside the rim" area that matters - not the way you
look on the outside.
Here is a sequence with the mouthpiece in play so you can see it as it happens. These are also frames from a video so what you see is from actual playing.
Sept. 11,2010 Building a firm foundation
This morning we have been watching the stories of the 9.11 attack. This moved my mind back to the foundations of society, and then on to the foundations we build as trumpet players.
Here are what I consider to be the cornerstones of that foundation.
1. Desire 2. Commitment 3. Perseverance
You see I did not list talent, abilities, nice tone, fingering, musicianship. I have taught thousands of students and the common denominators of those that are successful are these 3 cornerstones. Without the will, the way is lost. Without the drive the road grows weary.
In this web site I want to provide a source for feeding these 3 foundations. Explore it. Read it. Copy it. Pass it on. Take what grows your playing, and discard that which does not. Follow the links, download the pdfs, and listen to the examples.
My store page is small because I want everyone to have free access to these pages. If you buy something - great - but in all honesty this site is an open house of free information.
Balancing your embouchure Sept. 10, 2010
If you divide your embouchure into just two zones there is 1. behind the lips 2. the lips themselves
You cannot work the lips by themselves without pressure, tension, resulting in a thin dead tone.
You cannot the inside of the mouth including: corners, air, tongue - without a blatty sound and little if any control.
The issue is becoming your own teacher! Learn to balance the two zones within the fundamentals of proper playing.
HL Clarke said that practice is like medicine: A drop can cure but too much can kill.
I suggest we divide our approach to working the embouchure into routines that develop each area.
First / work a single zone. Next/ play with focus and intent on developing that single zone into a symbiotic relationship with the other.
I like to think of drawing a picture. I start with the head and the details of the head. Then I move to the body and draw the body so that the head and the body work together visually. They must complement in scale, texture, color, and lighting. To take a head from one drawing and place it on the body from another drawing may be fun, but it does not make a cohesive, balanced picture of a single person.
Charles Colin had a little book that started exercises in a 4 or 5 note diatonic relationship beginning in the low middle range. The next would be in the opposite direction. i.e.
playing e-f-g-a-b then downwards e-d-c-b-a. Building in both directions, using different motions within the embouchure. Then gradually expanding the exercises in both directions until the entire tessitura is covered.
Without balance within the complete embouchure there is going to be sluggish performance and little progress.
Think of lifting a heavy object from the floor to the table. If you do not bend your knees and lift with your entire body, it is easy to strain your back. By using an unbalanced embouchure you weaken or strain a single zone. Lots of players use tightening of the red portion of their lips to go higher, and loosening that portion to go lower. This is not balance.
Let the entire body carry that tone or phrase around.
Here is a free download of my exercise for tone. It forces you to focus on balancing zones to produce a given result. It lets you work a measure at a time.
During my playing years my confidence level determined my ability, not my practice level. That's why I called it the killer instinct. Claude Gordon said "Hit it hard, and wish it well"
This is the single most important lesson I EVER learned. It's not ego, it's pure raw confidence that every note is going to come out without even thinking about it.
I had performed over 3000 gigs by my early twenties, and somewhere along the line it dawned on me that when I knew it would work it would.
For a time I took mental Kodak pictures of a great note, or phrase, or gig. When you see it, hear it, then play it without a doubt - with the Killer instinct, you have, or at least I have, no nerves at all.
Having played all kinds of gigs on absolutely painful, swollen, no warm up chops and having them all sound good, I knew playing was 99% between the ears. When I performed folks would come up and say "i was glad you were playing, I never even thought about you missing something." The reason was that I was never worried about missing something.
Discovering Roy Stevens took the pain away from playing, but even on the old flawed embouchure it was the Killer instinct that worked. After Roy - it was just one more level of confidence up.
For me, a big part of the confidence was my set, and my mouthpiece. I trusted both completely.
Life is like that too. When you trust, you obey, and He succeeds:)
CLEAN YOUR HORN! NOW - I MEAN IT:) A story from NPR September 9, 2010 See complete article here One musician in Connecticut learned
the hard way about the dangers of not cleaning his horn — after he
developed a condition that's being called "trombone players' lung."
Dr.
Mark Metersky took this picture of what's living in Scott Bean's
trombone. The pink rods are Mycobacterium chelonae-abscessus species
organisms. The round blue things are cells from the mucus membranes of
Bean's mouth."He also grew a type of bacteria called a
mycobacterium, sort of a cousin of tuberculosis,"
Scott Bean says. "I
coughed. I had a horrible deep barking cough -- especially when I
played trombone," It turned out that his trombone, or
what was inside it, was making him sick.... I had a sore throat, lost 60 pounds at a time, had a
low-grade fever," he says. "It was a huge hindrance."
The Stuff Inside
This
stuff inside the trombone was causing an allergic reaction, which led
to hypersensitivity pneumonitis, a severe inflammation of the lungs.
Microscopic organisms were breaking off and getting into Bean's lungs
each time he inhaled. Bean admits brass players are often lax about cleaning their horns.
"You
talk about cleaning out your instrument, and they laugh and make some
funny remark about it," he says. "I never cleaned out my trombone —
maybe once every other year. We never clean it out."
Not Alone Mold
and bacteria could grow in any brass instrument. And for most players,
it wouldn't matter much, except maybe aesthetically. But for a subset
of people who react to these organisms, it's no joke. Metersky set out
to see how common a problem it was. He asked several professional
musicians if he could culture the insides of their trombones and
trumpets for a pilot study. "Things plopped
out," Metersky says. "It was disgusting. Imagine the worst thing you've
found in your refrigerator in food that you've left for a few months,
and that was coming out of these instruments." Metersky stopped testing after 10 instruments, because they all were contaminated.
Now Bean is diligent about cleaning out his trombone. "I
use a rod with a cloth and use alcohol — rubbing alcohol or isopropyl
alcohol — pour it down, and it cleans out the germs," Bean says. And he finds playing his horn a lot easier.
For those who have a naturally rolled out lower lip here is a link to a good article by John Lynch. He describes the embouchure and I agree with 95% of this. It is a fact that everyone is different, and he outlines a very similar technique as AirPlay with a few exceptions that allow players with this rolled out lower lip issue to play well.
Holding the trumpet properly is a great way to increase stamina. Place the right hand around the valve body, and then lower the grip away from the lead pipe to avoid excess pressure against the lead pipe.
Place your thumb between the 1st and 2nd valves and allow the lead pipe to gently touch there as well. This keeps your hand in a squeezing position and facilitates rapid fingering. Stay as relaxed as possible through your hands. Think of the golf grip:)
Bring the heel of your right hand in to the 2nd valve slide and let it gently touch there. Line the horn up 90 degrees to the floor, and if that is a bit tight for your wrist, angle the horn to the right a little but not more than about 10 or 12 degrees.
The left hand is your anchor and I prefer to use the 3rd and 4th fingers below the 3rd valve slide and let the horn sit there. This also lets me extend my thumb to the 1st slide and the middle finger to the 3rd. It also lessons tension from squeezing the valve body. If you have large or small hands you may need to use one less or one more finger below or above the third valve slide but the thing to maintain is the resting of the horn on the fingers below the third valve slide. This also helps keep the mouthpiece weight on the lower lip.
Here is Malcomb McNabs' left hand.
a trick for the upper range and accuracy up there: Use your right thumb to push up on the lead pipe which removes some high overtones, and maintains a centered sound up above High C
To depress the valves use the soft pads on your fingers. Not the tips! I often let my fingers relax so much that they hit the valve caps under the middle joint. This shortens the throw for me and keeps me relaxed. When I am playing very technical passages and exercises I do move back to the pads. To relax further and remove excess pressure on the top lip I remove my pinky from the ring or saddle on the lead pipe, and let it just rest on top of it.
As far as elbows go, it is better for your air and focus to raise the right elbow up and away from your body. For very strong playing you should raise both elbows. Look at Doc and notice his right elbow:)
August 28, 2010 Using Pressure?
Left arm pressure is like medicine: too much is deadly, but just enough can heal.
I use pressure in minimum amounts. Usually focused on the lower lip or just below the lower lip. This spot serves as my anchor for the embouchure. As long as my jaw is dropped and forward it relieves pressure on the vibrating surface of the top lip. The bottom lip does vibrate as well but in reality serves as the "facing" for the top lip vibrations.
When your lip vibrates it must begin the "stroke " from a gently closed position. (The illusion you feel is that the lips are always closed when playing with the AirPlay method.) The reality is that both lips are in motion at the rate of pitch you play. Sometimes the lips are moving vertically, and sometimes in degrees in and out of the edge of the cup. We'll discuss that later in another tip.
Any pressure in excess will hinder the freedom of vibration. Pressure or "weight" used properly and in proportion will stabilize the outer edges under the rim and give you something to feel for security.
To illustrate the point attempt a very soft tone with no mouthpiece and your lips will fly apart. Now place a finger above the top lip and another below the bottom lip. The tone can be produced. While the rim is the dividing line between vibration and non-vibration the amount of pressure from the left hand can share a small portion of the burden of the big muscles by giving them something to secure on.
If you experience pressure or weight on the center of your top lip as you get louder or higher, you have created a viscous cycle of more pressure demanding more air, demanding more pressure - leading to the point the tone is squeezed off.
By giving the left hand proper focus at the point below the bottom lip you accomplish several things: 1. You keep contact with the forward jaw and give the jaw a wall to stay against. 2. You leave the vibrating surfaces free from pressure. 3. You provide the illusion of strength which provides confidence when "power Playing" 4. You allow the blood to flow freely in the lip itself. 5. You keep the lower lip from riding up =in-and back into your mouth.
In AirPlay the central purpose of balanced left arm pressure is to maintain the jaw position dropped and forward, AND to keep the jaw from floating.
Aug 18, 2010 Being a section leader
When I was a freshman in CASS Tech high under Harry Begian I was also the cornet section leader. Working with older players can be intimidating and working with experienced professionals a challenge as well.
You must gain respect and confidence. But you have to assert authority from the beginning. Not arrogantly, but with humility. Never say "do it this way" say something like: "for this piece we need to articulate like this" It may not sound much different but it sounds as if you not dictating but directing. A subtle difference that will earn respect.
Lead through example and play what you have shown. There is nothing more irritating as a guy telling you one thing and playing another. If you decide to change something, explain that within the context of the ensemble it will be better if we adapt our concept and do it this way.
You get the idea I hope.
Intonation is not a matter of tuning each section member to a give note, instead it is preparing the players to listen to and identify the irregularities in pitch. Unless you are performing with a piano accompaniment, the pitch center can and will move during the course of the engagement, depending on temperature, tiredness, and vocalists if any.
If your team is aware of this they can listen and play in the center of the overall pitch.
If a player is on the low side, ask them to raise the pitch. There is no "hey man, push it in " instead assess the situation and give a general guideline. If they are still a little low tell them they "can come up a bit more"
In most cases the improved ease of performance for the team is appreciated and no foul is part of the "blame game"
Always comment a well played phrase. Listen to and create an esprit d'corps that builds a sense of pride in placing every note in time and in tune.
I have both done this and have been a part of a team where the lead or first player has molded the section. It is appreciated - IF DONE IN the correct spirit.
Aug 18,2010 How to Go With The Flow
This is a picture of bowling balls in a row. This is also the way the flow works:) The beginning of one note becomes the beginning of the next without spaces. If there is a space, as the first two balls allow, then we have a rest or a staccato or a detached style. But the air is still active and is momentarily pulsed, held back, or ceases for longer pauses between notes.
When we play the air is in constant motion. It is the Bow - the stream of water - the constant energy that produces not only the tone, but the attack, decay, sustain, release, volume, range, connection of the tones.
A simple exercise is to hold an piece of paper 3 or 4 inches in front of your lips and breathe a stream of air continuously so the paper maintains a specific angle. Now while holding that angle allow your tongue to "accordion" up from behind the lower teeth to the top teeth - interrupting the column for a split second before falling back to the bottom. If performed properly you will have the sensation of the air column causing the tongue to release the note.
Start slowly and with a small - steady stream of air for about 10 seconds. After this is easily performed, move to 15 - 20 -30 seconds. Don't think about how you do it, just keep the paper out at the angle and never let it collapse while you are tonguing. It will flap a bit not not collapse.
This teaches you to connect the tones with air and to not spit puffs of air with your mouth.
A second example is to tear a short thin strip of paper and breathe air across it and watch it pulse the strip of paper. This shows how the air is actually changing the pressure above and or below the paper as it would the tongue for rapid fire tonguing.
When you slur an interval the air column speeds up and you time the mental intent with the meter of the phrase to create the leap up or down with a decrease in speed. The muscles sense the change and with your unconscious will you allow the note to move.
It takes practice to flow through intervals. The result is an even tone, naturally smooth release of the slurred tone and a relaxed sound.
You may want to play a middle G and start Piano - then tell yourself you will increase the air as if you were going to crescendo. Instead letting the lips open a bit to accommodate the air and create a longer stroke thus producing a louder tone. You tell the lips to maintain the size of the aperture and the note will move up to C without the excessive tension usually used. The sound will easily be controlled and as you get the knack of it through trial and error it will change the way you perceive and employ leaps of intervals.
The longer Warburton Backbores work much better for AirPlay. They give you something to "sit on" when you play. I like the 3, 5 & 7 - DL's and the BL's.
August 14, 2010 Balancing things. A discussion of the realities of becoming and being a Player.
Moderation in all things is good. Consistency is good. Hard work is good. Relaxation is good. A trumpet player must learn to balance all things trumpet in such a way that it becomes habit.
Here is what I mean:
You must continue to do the pencil, the bulldog , static sounds, and breathing exercises for the rest of your playing life. Finding the proper balance in your routine is the trick. What you feel the best with is not always correct. Sometimes you just have to do it regardless of how you feel.
Plan your goals realistically. Don't expect to have progress every week or even every month. If you are spending all your time on the fun things like range, power, volume; chances are you are never going to be an accomplished musician. The business of trumpet is 100% about music.
Control your ego. It may be nice to receive adulation, but it is more satisfying to give it. Find a younger player to invest yourself in. You will receive more than give. You will learn by sharing, talking, and demonstrating techniques.
Record yourself and listen back to it. Play as much as you can - if it is proper playing. If you play in a marching band, pace yourself. A dead hero never finishes the race. I have known players like Alan Chez that used the discipline of a drum corps to become an accomplished and highly paid player. While I have also known guys that blow themselves out and leave the trumpet forever.
Be a smart student for the rest of your life. Take criticism with a grain of sand, and do the same with praise.
Find every opportunity to play with people that are better than you are. Never believe the lie that you are the best. There are always blowhards that burn out.
Devour all instruction. Check out the web often. Go to master classes. Listen to CD's. Attend orchestra concerts.
All of this in balance will MOTIVATE you. Help you see the big picture. Try new things. Listen to players, teachers and never give up your dream.
August 3,2010 Lots of Requests for more isometrics.
OK here is an easy and effective one. Use a tablespoon full of peanut butter and turn the spoon upside down. Then clean all the p'nut butter off the spoon as you pull it out of your mouth slowly. Try to really dig in with the lower lip to get all that stuff off the spoon.
Well honestly you don't need the p'nut butter, you get the idea:)
In this photo I am tugging down my top lip and consciously pushing my chin and lower lip up. This is one way I establish my power embouchure, and I also do this as an isometric exercise.
In this photo I am only tugging my top lip down and not allowing the chin and lower lip to push up and out. This is an isometric I do to establish a foundation at the corners WITHOUT PULLING BACK OR SQUEEZING THE CORNERS IN TO THE TEETH.
In this photo I am demonstrating the most common fault of players attempting Air-Play. I have tightened the actual red of the lips and am pulling them against the teeth into what feels like a solid tight position. This cuts off the blood supply, kills the freedom of vibration, and causes lip damage from the rim pinching the lip against the teeth. THIS IS NOT THE WAY TO DO IT
July 19, 2010 Back to basics
Today I want to go back to the most basic of the Air-Play method concepts. The lower jaw..
You must learn to drop and relax the lower jaw into a position of great power. To help you accomplish this I need you to get a Bic pen and hold it between your teeth. Do not clench your teeth - just hold the pen lightly between the teeth. Now bring the pen up just above parallel to the floor. Eyes looking straight ahead and chin out and up.
Now let your lower jaw and all your facial muscles relax. Like melting your face - let relax from the back of your neck to the tip of your chin. Now hold that position as long as you can remain relaxed. If you can do this for one minute you are getting your "foot in the door" of proper playing.
In this picture I am pulling my top lip down with the proper muscles. The result is the bottom lip goes up and forward. This is how you will naturally resist the air as you blow UP the pen.
In the picture below you see that my teeth are apart wide as I open my lips with my fingers. You can also remove the pen and freeze the face then stick your tongue through your open teeth and "feel" the aperture where the top and bottom lip meet in THE CENTER.
Over whatever period of time it takes - days, or weeks; increase this time to at least 5 minutes. Once you can hold the pen parallel and RELAXED this long you are ready to begin the following:
1. Blow air up the pen from slow to fast and repeat. Getting used to the natural resistance you feel in your face as you add air. Do not think of playing the horn - only think about increasing the air flow and feeling the chops resist. You must stay relaxed inside your mouth and just let the face respond without your conscious effort to resist.
2. Allow your lower lip to roll forward if it wants to as you blow 3. Allow the top lip to roll down or in as you blow. 4. Make every effort to keep the blow relaxed and as wide as your mouth is. Let it hit from cheeks to center of chops without respect. Feel the entire face reacting to the blow. 5.Drop the back of your throat like trying to sing a very low tone. 6. Let the air fill your mouth and throat cavity without making a "bubble" of air in your mouth above your tongue. 7. Keep your tongue wide down the center - it may curl a bit and touch your top or bottom teeth edges - this is ok as long as the center of the tongue is not pressing up towards the roof of your mouth.
This develops ALL of the correct playing muscles and surfaces. Do this EVERY day as long as you live and play the horn. Deviating from this practice will allow you to revert to negative devices.
I pry my lips open to show you the teeth are APART. If you do this and see the top teeth you know that your lips have "slid" up or if bottom teeth - they slipped down. KEEP YOUR TEETH APART ALWAYS AT LEAST THE THICKNESS OF THE BIC PEN. I use the Bic because it has flat edges to hold between your teeth - the round pens do not work well. If you use a pencil it can be bitten and allow your teeth to close.
July 3, 2010
I have been away a while so here we go into more valuable tips!
Performance based practice is a different animal than Developmental Study.
Here is part one dealing with Developmental Study
When I face a period of time in the day to play, I consciously make a decision to use that time for performance preparation, development of skills, or a combination of the two.
This in no way effects the warm up time, or the "free-playing" time after my practice time.
In this Tip I deal with development of skills:
The vital thing you must not miss is that we work on areas with specific intent. You must have a plan to progress. So many fall by the wayside because they lack the plan, and waste countless hours meandering through what "feels" fun.
When I was 14 I decided to dedicate one entire Saturday to learn to double tongue. I began as my instructor showed me with very legato gentle KU or Kuh attacks. Then gradually moved up and down scales and repeated strings of 4 then 8 then 16 then 32 then 64 K's. After this I progressed into playing songs and exercises entirely with the K tongue as legato and even as possible. Eventually it sounded as good as a Duh, Dah, or Thu tongue.
Then I moved onto the D-K combination (or T-K) very softly and smoothly. Gradually up scales, and then as repeated patterns. Gradually faster and allowing a tiny bit more explosive attacks.
At the end of the day I had fallen into a very usable double tongue from legato to staccato and soft to Fortissimo.
The process took 14 or 15 hours. I was determined and disciplined. Pacing myself to not jump ahead of what I was learning, and allowing it to become a natural or kinetic event.
Two things you must learn are patience, and positive repetition. By this I mean that if you play a passage slowly and perfectly 100 times it will accomplish much more than thousands of attempts to produce the same result when allowing mistakes, cuffs, intonation issues etc along the way.
On another day I chose to learn a difficult cornet solo. The same
methodical practice of a pre-decided plan yielded great results. This
process is part two and I will discuss this next time.
June 4, 2010 Blowing hard !
Every strong player practices blowing hard and loud in his routine.
It's how and when you do it that allows it to help and not hurt.
I suggest 3 times a week max in practice, but only if you feel strong, and your chops are relaxed.
Start with a three note arpeggio - G-B-D-B-G up and down in quarter notes. Repeat 4 or 5 times each one more intense.
Breathe in so you feel the air enter your mouth. The air goes in deep and wide and full, but not "stuffed." Turn the air right back around without closing the glottis and begin the sound. i.e. 1-2-3-breathe-Play
Let your face "give" a bit when expel the air. Listen to the sound broaden, intensify, and then come back to center as you decrease volume.
Allow your lips to float on the air column, but focus your intent on feeling the very tiny center of the aperture maintaining the vibration and NOT blowing open into the mouthpiece.
Small aperture control is always the key focus - do not let the chops pooch into the cup. You will feel the tingle as the vibration intensifies but not the "blasting" feel like those whose lips chase the air into the cup and spread open.
The places that "give" first as you add the intensity of the blow is:
Below the bottom lip, then the throat - mouth,Cheeks, and just above the top lip, producing a hugging of the rim, but not pulling the lips apart in the process.
Your awareness should be of your small aperture vibrating with much more energy.
Not moving in, out, up, or down, or tightening, or blowing open!
It will feel as though the vibration of your aperture from the outside to the inside, or front to back is lengthening -i- and not certainly not opening up as you turn on the gas. This then reverses as you turn down the gas and descend or play softer.
Your lips are not tightening against the rim or the into cup or pulled against your teeth but cushioned in place by the air cushion, and are ever so slightly wrapped around the rim. Look at James Morrison when he plays... (see picture)
I often carry these arpeggios up higher and louder, and usually hold the top note a few seconds before coming back down in volume and pitch. After you have done these you may start full and loud and stay full and loud throughout the riff.
It's important to lower yourself with the air and allow the lips to float down and let the small aperture relax BUT NOT OPEN to lower the pitch. Keep the motion in your body core, not out in the front of your face!
Once you have it flowing and powerful move up higher and higher. Play the first line of a song instead of the arpeggio, and think musically as you blow the walls down.
To get the sense of the proper muscles working; before you start, take a bristled hair brush and scrub your jaw line left right and under the chin for a minute or so. Do it pretty firm and close to your lips - BUT ALWAYS BELOW THE LIP APERTURE LINE. When you quit the area that receives the air in this exercise will be tingling. You feel nothing above the center line of your aperture and it should stay that way.
Let your air either: 1. increase and the sound gets louder or higher, or both. 2. decrease and the sound gets softer or lower , or both.
A bit like rubbing your head and patting your belly.
I'll try to get a utube up of this for you all. gR
May 22,2010 Efficiency - LET THE LITTLE MUSCLES WORK. DON'T GET MUSCLEBOUND
I was working today with a fellow who closed off and wore out when playing a solo lasting four minutes. This is not uncommon, and comes from some basic misunderstandings about mechanics.
Don Sebeski taught that the essence of writing was Focus and Economy, and it applies to just about everything in life.
Watch the video and you will see the importance of allowing the large muscles to react to the air flow. Here is what I mean by large muscles: 1. Below the centerline of the aperture 2. Below the corners 3. Below the bottom lip.
These are the playing muscles. To identify the small, and not used muscles try these: 1. Snear 2. Pout 3. Smile wide 4. Blow down towards your shoes
To identify the large muscles try these: 1. Blow up at the tip of your nose 2. Blow up at your nose and at the same time pull your top lip way down over the teeth against your bottom lip with your JAW FORWARD. 3. Push your lower lip up as far as it will go.
To show you how efficient the large muscles are try this: 1. Place your lips into your basic embouchure and then blow the air through them down at your shoes. Notice how the corners collapse and the lower lip folds back in. 2. Now move your jaw forward, open your teeth, close your lips and blow the air out up at the tip of your nose. Notice how the aperture locks in the more you blow. Just like a "Chinese Handcuff" the more air the more solid the embouchure. That is efficeincy.
gR
May 13,2010 How to choose a throat size...
The rule of thumb I follow is:
For bells that have a smaller diameter at the junction with the first valve and then up and around the bend, and then they open up - a # 25 or larger is a good place to start. As example players using a Bach Strad. 43 or 43* would be happier with a #25 than a #26.
For bells with a larger diameter at the junction with the first valve and then up and around the
bend, and then open up - a #27 or smaller is a good place to start. As an example players using a Bach Strad, 37 or 37* would be happier with a #27 than a #26.
The throat and the bell have to be in balance or you will loose center, focus, tone quality, and the resistance will be squirrely. No offense to squirrels:)
The cup depth or width has really little to do with this. The throat is where so much of the feel and sound come from. This is why Terry Warburton is so rich.
Another factor for players who use several leadpipes is that the throat size is as much connected to the leadpipe as it is to the bell. The same rule applies. Smaller pipe bigger throat, bigger pipe smaller throat.
Most mouthpieces come with a #27 standard. This is a very middle of the road size and one most of us are familiar with.
If your horn seems a bit dull or it backs up and does not let you move the air then these simple rules will give you a starting point.
May 7, 2010 - What do You Hear?
I find that younger players "create" their sound by shaping it with forced manipulation of mouth and air to sound the way they want to sound.
This is not how you develop a great tone. A beautiful tone is produced by: A FREE VIBRATION!
Obtaining a free vibration is our goal, and leads to success as a player. The AirPlay concepts I show you on the site and on my DVD will lead you to a beautiful tone.
What we strive for is using the large muscles surrounding the lips for control of your aperture.
We strive for the optimum position for your lips and teeth to produce the freest vibration.
We strive for a long relaxed, buoyant air column of air acting like the bow playing a violin - constantly moving and gently supporting the sound.
Forcing your sound to sound the way you want it to is
"Sacrificing your future on the altar of the immediate."
It leads to burn out and discouragement.
Take the time to let your sound be a free vibration, and you will thank me a 1000 times. gR
April 28, 2010 - Go down to go up?
This is a simple explanation of a complex synergy occurring when you ascend and descend on the trumpet. You will understand this more as you practice this technique. It is important that you commit this technique to habit through thousands of repetitions.
Start with 2nd line G and move up to A. Now repeat and focus your intent on playing towards the bottom of the pitch on the A as you move from the G. Now do G-A-B and on each step focus on staying on the bottom of the pitch.
Repeat in increments until you have played the entire G scale to the top.
Now Play C in the staff and move down to b. When you make the move to B focus on keeping the B on the top of the pitch. Repeat C-B-A doing the same. Now work the scale until you have played from c in the staff down to Low C.
Each time you focus on either top or bottom of the pitch it is accomplished with air flow alone. Do not bend the pitch with your tongue or lips as that would actually make the notes flat or sharp.
Next step is to move to chromatics, and then up and down passages as you find in H.L. Clarke studies.
This work eliminates "sticking", "cuffing", and maintains an even sound as you ascend and descend.
So you have learned how to go down when you go up:) gR
April 23, 2010 - Tips for building power
Recently I have lost weight and feel real good and strong. Building my power back has been fun. Here is one of the many things I do to build my chops.
In the morning I start soft tones with a large cup Mouthpiece. It has a Schmidt backbore and a 22 throat, and the tone is real easy to produce. I feel a bit like I'm swimming in it, but I stay in the staff and play softly. Gradually I get louder and louder until I feel a nice buzz on my chops.
Next I move to my gRawlin #3 with a Warburton 8* and play until my sound is centered and my flexibility is really easy.
Next I move to my gRawlin#2 with a Warburton 5. I do a lot of arpeggios and climbs and play some of my favorite exercises and music.
Next I move to the gRawlin#1 with a Warburton 11* - for more range and power work and finally I move to a new mouthpiece that is an exact reproduction of the original Stevens #1.
Now if you play a 1.5 or bigger mouthpiece what you should do is get a flugel piece to start on in your trumpet or a Schilke 24 or even an alto horn mouthpiece. Some of you may have a trombone or baritone - start there and work towards your regular size.
This is all a-kin to swinging a few bats before stepping to the plate - don't change your embouchure from piece to piece, just play what is comfortable for you on each one to "open you up" and strengthen the natural flow of your air core.
By making these progressions I find my air is bigger and my control energized.
It sets me up for a great day of playing
gR
April 23, 2010 - Conte Candoli I met Conte Candoli in 1966 in Hollywood. The Spurrlows were at the Hollywood Presbyterian Church and he had come to hear us. He talked with us about his renewed trust in God and other life issues. He was a true gentleman, and his concern with his spiritual life was genuine. During the next few weeks I met with him and he told me great stories of his professional life. As a 19 year old kid he was a hero to me in the trumpet world. Conte was a natural player. He said when he started band back in Indiana he picked up the trumpet and just played it. He kidded about the fact that the only difference between his playing then and presently was that he had better "ideas" now.
Conte was a strong, workhorse player. Any section he played in was solid just by him being there and leading with a clear and powerful sound. His jazz and lead playing are legendary as is his brother Conte's was.
Conte promised to send me one of his Golden Flair trumpets, but like a lot of us forgot it. Then I ran into him here in Atlanta in the 70's. The first thing he said was oh - I forgot the trumpet..:) and I been trying to live right, but it's tough and I'm weak. He stayed at the Fairmount Hotel for a week stand with Edie Adams and we caught up on a lot of things. He said he really needed to get back in church but with his schedule...
I learned to be fearless from him. To hear it, and play it. To have fun but carry a big stick.
Conte told me I needed to go over to old man Purviance and get a mouthpiece. I was playing a Connstellation with the mouthpiece that came with it. So Pete calls up Carroll Purviance and makes an appointment.
I go into this "garage" looking place and see this old guy sitting on a stool polishing a mouthpiece. I said "Conte sent" me and I wanted a new mouthpiece. He looked at me and turned around to his bench and picked up a 4*K4 and shoved it at me. "Here you go kid, so and so plays this and he blows the walls down.." I foolishly argued that I'd like to try it. He said: "you think this is a rehearsal hall - take it" I was honestly scared of him, so I paid him and left. Here is a nice column written about him in 2007 - his last year. I will always remember him as the guy that taught me what it took to be a leader in any section.
Through the
years there have been a number of "family acts" in jazz, but not many
in which the parent/offspring or siblings played the same instrument. An
exception is the Candoli brothers, Pete and Conte, who not only played
trumpet but did so with such creativity and talent that they are widely
considered to be among the best who ever picked up a horn. There were
some small differences. Conte, younger than Pete by four years, was best
known as a jazz trumpeter who could play lead, Pete as a lead trumpeter
who could play jazz.The Candoli brothers were born and spent their
childhood in Mishawaka, Indiana, near South Bend. Conte received his
earliest trumpet lessons from Pete, who was largely self-taught, and the
brothers first played side-by-side as professionals on Woody Herman's
First Herd in the summer of 1945, shortly before Conte's eighteenth
birthday. It was there that Pete earned the nickname "Superman" for his
stamina and high-note prowess (even wearing a cape as part of the act).
Pete, of course, had a different take: "They called me Superman," he
said, "because I could open windows that nobody else could lift up..."
While
he may not have been the Man of Steel, any trumpet section with Pete Candoli
as its anchor would be solid as granite, as no less than twenty-seven
big bands (and innumerable studio ensembles) were to learn. Tommy Dorsey
recognized Pete's talent, as did Glenn Miller, Stan Kenton, Les Brown,
Count Basie, Freddie Slack, Tex Beneke, Jerry Gray, Charlie Barnet and a
host of others. In the studios he worked on more than 5,000 recording
dates, performing with ensembles led by Gordon Jenkins, Axel Stordahl,
Nelson Riddle, Frank Comstock, Don Costa, Michel Legrand, Henry Mancini
and others while composing, arranging and conducting for such stars as
Judy Garland, Ella Fitzgerald and Peggy Lee. In their "spare time," the
brothers Candoli co-led small groups that recorded and played on the
West Coast, in Chicago and at other venues.
Pete earned many
awards from Down Beat, Metronome, Esquire and Look
magazines, the last naming him one of the seven all-time greatest
trumpet players, the others being Louis Armstrong, Bix Biederbecke,
Harry James, Bunny Berigan, Dizzy Gillespie and Bobby Hackett. Fast
company indeed. Speaking of Armstrong, Pete did an impression of Louis
that became near-legendary, and in the 1970s performed a nightclub act
with his then-wife, Broadway star Edie Adams. He had previously been
married to film actress Betty Hutton. The Candoli brothers were
especially close (Pete once said they'd never exchanged a harsh word in
their lives), and Pete suffered a devastating blow when Conte succumbed
to cancer in December 2001. Pete didn't play much after that but still
showed up at various jazz events. But he too had cancer, and it claimed
his life on January 11 at age eighty-five. The last of the "seven best"
trumpeters had gone to join the other six, and the celestial trumpet
section became even more "super" than before.
April 16, 2010 revisiting the lip and mouthpiece connection
After receiving some new questions about lip placement I want to give you as clear a word picture as I am capable of:
1. Open your teeth and close your lips in front of them very softly. 2. Use your tongue tip to feel if you feel both top and bottom lip equally. 3. Place your right index finger softly against the line on your top center lip that divides red from natural skin.
4. Move your lower lip center forward so you feel the slippery wet of that lip touching the top lip edges. Now wet your lips
5. Relax and place the mouthpiece to your top lip approximately in the same position where your finger was. Depending on the size of your lips you may achieve a better result if you place the mouthpiece over the lower lip FIRST and then the top - if you do this it will most likely feel as if your lower lip goes in to the cup Too far and takes up too much space, this is more of an illusion than reality. Just be careful to cover the top lip with the rim so it is as you felt with your finger over it in step #3
6. Now you feel the top lip in the proper position, so bring the rim onto the lower lip. Let it lay flat against the lower lip and area below it - as an anchor for your entire embouchure. You will absorb any left arm pressure here hopefully below the lower lip, allowing the top lip to be free to vibrate with just the rim gently holding the top lip steady! If this causes the rim to press hard into the top lip - you do not have your jaw forward enough.
7. Move your lower lip slightly into the cup while keeping it in contact with the top lip. 8. Out at the corners - bring bottom lip corner up slightly against the top corner just enough to feel the entire lip aperture close a bit. You will feel this mostly along the lower lip and it may move your lower lip a tiny bit more into the cup.
9. Breathe in through your nose and without doing anything with your embouchure let a medium volume AAHH pass into the mouthpiece across your lower lip causing the vibration to start. 10. Everything you feel will be in the lower lip and the floor of your throat and mouth - the note will respond and you will feel your embouchure responding by itself - as long as you tell the note to continue.
11. Depending on the size of your lower lip and the proportion of it to the top lip you will repeat this with tiny adjustments to purify the sound and let it come out easily. 12. Now you see that the top lip has done nothing - all the adjustments and set up revolves around the lower lip. This will continue as you play, so that these supporting muscles learn to react to your air and your will.
You can play-test this for ease and sound for several days. You will feel your face begin to conform (especially the lower jaw) to the proper delivery and release system, and you may experience your pitch becoming a little flatter. This is good as you are opening up and relaxing.
If this leads to a increase in resistance back from the horn you will need to consider and more open backbore to compensate.The Warburton 7B is always a great choice. Or you may be happy with your normal backbore.
This is a small piece from a very interesting article I found on the web. It talks about the teachings of famous LA player and teacher James Stamp the author is: matthewstock@sbcglobal.net
Time spent studying complex theories or thinking about problems is almost always wasted (“The professors can keep their theories, I’ll keep my job.”). By focusing our attention on a handful of good habits we can simplify playing and learn to work out our “bad days” rather than having to accept them. Learn to trust your ears, when you’re playing correctly you will hear it. When in doubt, simplify. AIR
“They call it a wind instrument for a reason!” Don Jacoby.
Many difficulties can be overcome simply by making sure that the airstream is moving quickly and steadily. Roy Poper describes this feeling as being, “Like trying to blow out a candle 20 feet away.” what we’re trying to accomplish, “spinning” the airstream through the center of the notes. If the airstream isn’t moving properly, other parts of the body (lips, throat, tongue, chest, shoulders) begin to tighten to try to compensate. This new balance may feel unusual at first, but the change in the sound will be immediately apparent. While changing notes the airstream must remain continuous.
Remember Jimmy Cagney saying, “You Dirty Rat”? That is the “Brass Player’s Face.” The jaw is pushed forward. This opens the throat and gives the mouthpiece a solid foundation to rest on.
Hold the thumb and second finger about a quarter of an inch apart. Place them against the front teeth and grip inward with the lips. This is the feeling we want while playing, a firm grip on the mouthpiece with absolutely no smiling. By gripping with the circle of muscles outside the mouthpiece, the part of the lip within the mouthpiece can remain relaxed enough to vibrate fully. This gripping exercise can also be used as an isometric exercise, holding for about 10 seconds then relaxing for the same length of time. I usually do 3 sets of 10 “grips” at night after I’m done playing for the day.
Playing the mouthpiece should be like singing. Constant attention to pitch is essential. Internally hear what you want to happen, breath in rhythm and blow while gripping the mouthpiece and continuing to sing the phrase in your mind. The horn only amplifies what we put into it, good or bad.
The mouthpiece should be held with the thumb and first finger about 1” from the small end. Remember to keep the airstream moving quickly and steadily.
One of Stamp’s most important rule is, “Stay down going up, stay up going down.” This helps to keep excess tension out of the high register and keeps the low register from collapsing. In time this has the effect of “compressing” the range, making the notes seem closer together. This allows you to play an exercise like the large intervals on pages 125-130 in the Arban quickly, accurately and easily. This approach is what allows Thomas Stevens to make a fiendishly difficult piece like the Robert Henderson Variation Movements sound easy.
Establish a tempo before you begin, breath in rhythm and blow while also playing the exercise on the keyboard.
On the second note, grip the mouthpiece slightly as described above. While maintaining the grip, keep blowing and continue the exercise. Your ear will tell your face exactly what to do if you stay out of the way and let it. The air will open up the lips just enough to play the descending intervals.
Many players over-emphasize the importance of pedal tones. They are a technique to encourage good habits but not a cure all. They must be played on the same embouchure you use in the normal range. The pedals may not sound full at first. Keep your grip on the mouthpiece and BLOW. Pushing the jaw further forward will also help. The pedal C can be played either 1-2-3 or open, the important thing is to blow through the note without letting the chops collapse.
GOING UP
Stay down while going up, letting the air and the ear make the pitches. On the top note increase the grip slightly and BLOW.
Stamp taught that you should expand the range in both directions simultaneously. Remember an efficient, relaxed middle register, is an essential prerequisite for a usable high range.
April 8, 2010 Push your lips forward and keep them together. Do you feel the muscles that are working?
Pull your lips back into your mouth and keep them touching.Do you feel the muscles that are working?
Smile and keep your lips together. Do you feel the muscles that are working?
Pull your lower jaw back and keep your lips touching. Do you feel the muscles that are working?
Now you have identified the muscles you don't use while playing the trumpet!!
Open your lips and visualize the outer corners of your lips. Now bring the top corner down and the bottom corner up. Your mouth just closed and the center of your lips are touching. These are the muscles you use!
The muscles are bigger muscles, and they hold the middle of your lips together and allow them freedom to vibrate.
The rim over the top lip keeps the top lip from blowing open...
April 8, 2010
Reading is the primary difference between the players that work and the players that don't. It is expected that a player will read the piece correctly the first time through - even to the point of correcting notes that are written wrong BEFORE you play them. This is the way of the working musician.
Developing reading skills begins with hearing intervals and developing very good relative pitch.
The sub tone you hear in most rooms (if all is quiet) is a slightly off key Bb. You can train yourself to hear the Bb, and then sing a concert A. If you practice this day in and out after a year or so you will nail an A by ear alone any time - even while music is playing.
Intervals can be seen and heard as familiar tunes. A fourth is "Here comes the Bride". A Major 7th is "Bali Hi" Find your own tunes and practice hearing the intervals you see on the page by singing.
Now put your middle finger against your thumb as if playing second valve - that should bring that concert A instantly to your mind.
The best book for ear training I have found is the Hindemith elementary training for musicians
March 29,2010 Tip
Trouble with wide skips and slurring large intervals?
This is not discussed much, but your lips have to be closed from the corners first and not just touching in the center with a gap between the rim inner edge and the center closed point.
In other words slowly bring your lips together just before placing the mouthpiece and make the effort to seal the sides against each other gently. Then let the rim settle down over the chops. This always gives your formation flexibility.
Now with the lips completely closed from rim to rim you can get your breaths in from the corner of your mouth to the rim and the rim holds your chops together from the point where the outside edge of the rim seals to the opposite side.
<o> (o) -0- Wrong very wrong straight line represents closed chops - correct Leaky Pinched Closed
MARCH 27,2010 TIP
What you think you hear may be telling your ears a lie!
Recording a big band or a trumpet solo is not an exact replication of the actual sound. I know the first time I recorded a TV Commercial, I was shocked at what I heard on the TV. It was a jingle for Chrysler Corporation with Patti Page - called Dodge Fever. The mikes were Condenser pencil mikes at close range and recorded a very bright brittle sound. This was in 1965 and was in what I call the "crossover" period of recording.
The old Neuman, and RCA ribbons recorded a more natural trumpet sound, but in the world of fast food jingles, and commercial music the sound is not the end, the energy is.
So now we live with generations brought up to hear a trumpet sound that is thin, shrill, and synthesizer like. The players are now forced to imatate that sound live, and to do it; they use smaller and smaller high velocity mouthpieces, and make money.
I had a big surprise when I went to New York in the 60's and worked at Radio City and other venues. The sound was a big fat Bach with a 3C sound. Not timid, not small, but FAATT.
Same thing when I worked in LA. big fat sounds from Purviance and Benges, and Callichios, and Bachs.
What I've learned is that the guys that really are in the trenches of the movie sessions and orchestras have big fat sounds. The guys in the traveling rock bands, jingle sessions and "B: markets tend to be brighter, thinner, and less musical sounding.
So whatever you decide to do with your playing as a profession. Remember that at times there are big compromises you may have to make. The guys that last are those who: 1. Read anything the first time 99% accurately for style, pitch, notes, and sound. 2. Don't complain 3. Know what sound is all about and are willing to have a nice fat sound reduced to a shrill synth sound on the recording. And occasionally get to play musically wonderful charts, with recordists that let the trumpet sound like a trumpet.
Here is a new one for March 20, 2010. Goal Oriented Calisthenics:
1. Sharp tonguing of intervals and "skipping exercises" produce a constant aperture and is my number one endurance exercise. I often spend up to an hour on these things. I use slurs sparingly and choose simple exercises that allow me to focus attention on a sharp explosive pop to the attacks.
I use the mid range first and then expand to my "easy" upper register (no screaming here) and then venture to the bottom of the horn, and back through the cycle. I do not use Clarke for this I do use simple Arban arpeggios, the Sigmund Herring book, and the simple exercises from the Vizzutti books. Remember this is calisthenics for endurance, not a beauty contest!
This example was played in a short 5 minute session on a Bach 43 with a Bach 37 lead-pipe. gRawlin #2 Mouthpiece Top and my new "Fat" Backbore. I hope to have these Backbores mass produced soon. The throat is a #25. 2. Flexibility is best accomplished by focusing on a relaxed air column with a controlled intensity. Eighth note step up and back patterns of 6 or 8 reps followed by 8 reps of down and back patterns. Then move to minor thirds same pattern, then spread the intervals apart to a minor sixth (c-Ab example)
After 10 or 15 minutes on these rest and then do 4ths as 8ths then triplets then 16ths. After this do fifths the same way.
3. For Tone quality I sit or stand facing a corner and play long tones on middle G in the staff. I pulse the note louder and then softer over 8 counts. After this I use that G as a center and slur half notes up to the next open tone (C) and back down. Then I do a triad G-C-E. DEPENDING ON YOUR ABILITIES THESE CAN BE EXPANDED UPWARD AND DOWN THROUGH THE OPEN HARMONIC SERIES.
My intent is to use the same air column to connect these notes and maintain the resonance of each note at the same place in my mouth, throat, and core. This makes you use the entire body as you ascend and then learn to come back down by backing off the air and not closing your throat.
Remember that the meat of the horn is between Low C and C above the staff. This is where 80-90% of our work is done. When we are using this range correctly the expanded ranges are much easier to develop. gR
How to relax and be strong at the same time.
Playing Scales IS FUN!
Exercise your embouchure every day!
How to tell if it's the horn or you!
New Wine in Old Skins?
How do you squeeze your toothpaste tube?
Common Sense !
Finding your "CENTER"
What you need to try - before a major embouchure change
Air between teeth and lips??
Vibrato Saga - my personal experience.
Honesty sometimes hurts, but here goes: 
Playing with focus and efficiency!
To stand or not to stand...
I posted this note to TPIN this week. It is geared for all types
of players and does not go in to all the AirPlay studies I generally
teach here on grawlin.com
Cups, Rims, and Lips
Things that me you go: Ummm!
The Killer Instinct
Ridding Tension in the Throat and Neck
This is FWIW...
Play Lightly - not softly 2.13.11
Simple Focus and Economy 1.30.11
Practicing Lip Slurs - 1.11.11
Solo Preparation - 12.29.10
Understanding how things work. A lifetime pursuit - here are a few tips.
Part two: Understanding the foundation of a pure tone
September 18, 2010 How the lip interacts with the mouthpiece
The inner bite has more "area" than most rims. This allows a swinging door that has room for small and large, thin or thick lips. Because it is smooth and gentle arched, the chops can vibrate to extreme volumes of soft and loud without the temptation to spread the lips open or pooch them into the cup deeply.
Picture Sequences of the lower lip before playing, during, and
after release of note. 
Balancing your embouchure Sept. 10, 2010
Sept. 10,2010 CONFIDENCE!
CLEAN YOUR HORN! NOW - I MEAN IT:) A story from NPR
For those who have a naturally rolled out lower lip here is a link to a good article by John Lynch. He describes the embouchure and I agree with 95% of this. 
September 4, 2010 Hands and fingers
August 28, 2010 Using Pressure?
Aug 18,2010 How to Go With The Flow
July 19, 2010 Back to basics
I pry my lips open to show you the teeth are APART. If you do this and see the top teeth you know that your lips have "slid" up or if bottom teeth - they slipped down. KEEP YOUR TEETH APART ALWAYS AT LEAST THE THICKNESS OF THE BIC PEN.
June 4, 2010 Blowing hard !
May 22,2010 Efficiency - LET THE LITTLE MUSCLES WORK. DON'T GET MUSCLEBOUND
May 13,2010 How to choose a throat size...
May 7, 2010 - What do You Hear?
April 28, 2010 - Go down to go up?
April 23, 2010 - Conte Candoli
April 16, 2010 revisiting the lip and mouthpiece connection
Here is a new one for March 20, 2010.
