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Discussion in 'Trumpet Discussion' started by 12erlgro, Dec 11, 2010.
Lip slurs are hard as heck to do until you get use to them.
One factor that can make it a little easier is to use your vowels.
oooo as in "ought" for the low notes, aaaaa as apple for the mid range notes, and EEE as in Erase for the high notes.
Hope this helps. Be sure you're not shoving the mouthpiece down your piehole when you go up and easing off the pressure when you come down.
You might want to read Mouthpiece Pressure Assessment.
More air, don't overuse the lips (concentrate on the the tongue, vowel, etc. not on manipulating your lips to get the next pitch)
You could also try the pivot system. It's posted on a trombone forum. Some hate it cause it is unorthodox, but it does work if practiced properly after being taught properly. No one less than Maynard incorporated some of it's techniques. Whatever method you choose, it will not be effective w/o routine practice. NO silver bullet here.
A lip slur "forces" the amount of wavelengths in the horn to increase. This requires solid breathing to overcome Newtons law: things do not like to change their state of motion or activity.
Nothing reduces muscular activity when playing more than superior breathing.
Time again for one of the more esoteric Vulgano Brother observations. When we play a note, the air column inside the instrument has defined and mathematically predictable areas of high pressure and no pressure. In physics these are known as nodes and anti-nodes. The higher the tone, the more of these nodes inside the instrument. With a horn of sufficient light weight, we can play a long tone we can gently run a finger around the leadpipe and/or bell and feel some of the vibrations. Change to a different harmonic and that place will move.
Now for the esoteric part. Playing a long tone, we can shift our awareness to inside the trumpet, and imagine/feel a point of resistance somewhere inside the horn. I call these "magic bubbles." To slur up, we can "blow" this magic bubble further away, backing off will allow the magic bubble to return to its place closer to the mouthpiece.
Our body will memorize the feel of these notes and nodes much more quicky than the cognitive control of several variables can. Remember that the embouchure is (or should be, in the Zen Vulgano philosophy)formed in part by the note that it is playing.
Experiment a bit, and have fun!
Time and diligence. One practice session it will lock in.
Another thing is to keep the air moving, think of the notes floating on a cushion of air.