Eric Berlin, TPIN 2001.

Discussion in 'Trumpet Discussion' started by dbacon, Jun 18, 2004.

  1. dbacon

    dbacon Mezzo Piano User

    Oct 24, 2003
    Scottsdale, AZ.
    In my post I mention:

    >You can minimize that pressure on the top lip by feeling as if you are
    >moving your jaw out ever so slightly and/or aiming the horn down in
    >relation to your face.

    I appreciate your caution as the idea of "thrusting out" as you mention
    could be problematic. The operative words in my post are "ever so slightly."
    This most often is just bringing the horn to a point of equalibrium.

    I personally don't subscribe to a rolling out of the lips because this
    concept allows for a change in the line of contact between them and may open
    us up too far. This "aperture", as some call it, to me is not a hole in the
    middle but a line of solid even contact through which the air passes to
    begin vibrating. I often find that there is one small area along that line
    which is more open than the rest when people get air in the sound. This
    inefficient embouchure may happen as we roll different flesh in and out of
    the line of contact or just because the embouchure is not fully developed.
    By keeping that line the same and moving the embouchure out slightly for the
    bottom register you will be playing as Vince Penzerella calls it "fixed
    aperture". Liken it to a string. To change pitch, we want to change the
    length of the string, not the string itself.

    Your idea of setting for the upper notes is absolutely right on and we
    probably approach all of this in a more similar way than it sounds. When we
    speak of the delicate adjustments that we make, each person's body and mind
    process and understand them differently.

    You are also right on not letting the chest collapse. Charlie Schlueter
    always talks about keeping the ribcage up off of the lungs. It goes along
    with yoga and Alexander technique principals of lengthening the body. If we
    take a large breath and don't hold it, it will come rushing out in a mater
    of 1 or 2 seconds. That amount of energy is never needed for the instrument.
    Knowing that our chest muscles returning to the point of rest can create
    that much power should be a great comfort to us. By keeping the ribcage up,
    we can control the rate of flow without stopping it artificially with the

    Best wishes to all!

    Eric Berlin Majestic Brass Quintet
    Principal Trumpet-Albany Symphony
    Majestic Brass Quintet
    please mail to [email protected]
  2. trpguyy

    trpguyy Piano User

    Nov 26, 2003
    I know a high school senior who has been studying with Eric since the eighth grade. She is a fantastic player, and a very good example of Eric's fine teaching.

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