Help on lip shakes?

Discussion in 'Trumpet Discussion' started by sorahauk, Nov 8, 2011.

  1. sorahauk

    sorahauk New Friend

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    Oct 19, 2011
    TN
    I need some tips on how to do lip shakes because i'm going to be playing lead in a jazz concert soon and the last note calls for a lip shake, and several more notes within the music
     
  2. xjb0906

    xjb0906 Piano User

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    May 2, 2009
    Charlotte NC
    Hope you get some feedback. I need some help here too. Never had to do a shake until I joined a bigband.
     
  3. Curtis123465

    Curtis123465 Pianissimo User

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    Feb 16, 2010
    What helped me out the most was not practicing lip trills, but doing extremely soft playing of clark studies and arbans for about 15 to 20 min. a day and then resting before I went on to other things. What that does is help you get your aperture relaxed and closed (not pinched) so you don't have to do much to make the note change. After I started doing this is was only a few weeks before I noticed how easy it was to get all over the horn and lip trill.

    lip trills are different than shakes though. For a lip trill you just "flip" from one note to the partial above it by controlling your aperture and tongue (at least that's what I do..) don't forget about keeping a full STEADY steam of air and maintaining the same volume. Practice lip trills by centering your starting note, use your tongue/ jaw or whatever works for you to slowly bending the note up to the point where it's about to break to the next note. then quickly get it to snap up to the next note and then back down. I use my jaw to do this. By raising the 1st note you are 'walking' the line between a sharp upper note and a flat upper note but by doing this it is much easier to do a fast lip trill. just make sure you start and end the note in tune.

    For a shake I mostly focus on blowing forward as opposed to up. Blow faster air (not more air! that will just blow your lips open) and try to keep your aperture the same. The key is to think forward and just ride the air stream. when you practice the shakes I think it's important to use an alternate fingering for the note that uses more valves (G on top of the staff 1 and 3 as opposed to open) and go slowly at first making sure you hit every partial the fingering allows between your starting note and the target note above. doing that will help you learn to not over adjust with your chops trying to get the upper note out.

    hope that helps a little bit!
     
  4. jiarby

    jiarby Fortissimo User

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    Handbags & Gladrags... Bill Chase
    Listen to the end and you will hear 3 different shakes. Start at 2:40 or so. High G's
    Handbags and Gladrags - Chase - YouTube

    I think of them as intervals, but done across partials.
    On a high C you can go from C to D, or C to E, or C to F all using no valves. The C-D you can trill with the front of your tongue, but the wider intervals take more mojo, so use the back of the tongue.

    Alot of guys actually SHAKE the horn up & down to create the movement across the partials or you can hold the horn still and nod your head up and down to acheive a similar effect.

    Sometimes a narrow shake can be done with some light back & forth of the valves with the fingers. (Snooky Young does this in some Basie recordings, like on this tune, at 4:35 Count Basie Easin' it - YouTube). It is a little different than the up and down... more of a forward and backward movement, but very slight. The point of both these techniques is that you are physically manipulating the chops to move across the partials.

    There is no one right way, depends on the tune, you the partial, and your strength.
     
  5. fraserhutch

    fraserhutch Mezzo Piano User

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    Jan 23, 2004
    Novato, CA, USA
    for me,there are three distinct flavours of shakes I do depending on the style of music:
    1 - the old school rapid and 'shallow' shake, which is to the next partial and is quite fast. These I do as a fast lip trill. Thin Glenn Miller et al.
    2 - Basie style, which is somewhat shallow as well, but a tad broader.
    3 - Chase / Maynard - very broad and VERY wide, usually a fifth These last two I generally do as a combination of lip slurring and slowly moving my horn towards and away from my face.

    A good example of different type of shake - somwhat shallow and broad - can be found on EWF Got to Get You Into My Life:
    EARTH WIND & FIRE Got To Get You Into My Life - YouTube
     
  6. jiarby

    jiarby Fortissimo User

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  7. flugelgirl

    flugelgirl Forte User

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    Seattle, WA
    Colin Lip Flexibilities helped me with shakes. Shakes are all about flexibility - once you can direct the air to do the Flexibilities slowly, you can speed them up for shakes and lip trills.
     
  8. jiarby

    jiarby Fortissimo User

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    +1! The back half of the Colin book is awesome for this...
     
  9. coolerdave

    coolerdave Utimate User

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    San Pedro
    I agree moving the horn is not my preference. I do it with tongue movement. Practicing lip trills with a metronome is what I do. It's been a few years since I looked at the Colin book. I just start at low F# (1-2-3) and do a lip slur up to the next partial and down in 16th notes as slow as I need to to do them. <<<<rest>>>> Then I move up a half step do the same.. another half step.. the same and continue until I can't go up anymore. I try to do this only using my air support and tongue. After a week or two you should "feel the flip" and it should get easier. You can also use the alternative fingerings as you move up the scale.
     
  10. gmonady

    gmonady Utimate User

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    False fingerings has helped me a lot. In the upper registers for A, and C# - 3rd valve; C - 2,3 valve; D - 1,3. If playing Dixieland, I find quarter valving the note is a real nice technique.
     

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