How do you recover from a trashed lip?

Discussion in 'Trumpet Discussion' started by stricd, Nov 29, 2010.

  1. stricd

    stricd New Friend

    Oct 19, 2010
    What do you do when you have overly fatigued or bruised your lip, especially if you have a performance coming up in a few days? Long tones? pedal tones? Total rest?
  2. tobylou8

    tobylou8 Utimate User

    Dec 22, 2008
    Total rest.
  3. hitechsailor

    hitechsailor New Friend

    Nov 15, 2010
    Central Missouri
    First I try to avoid getting to this point, but it does happen every one in awhile. When it does, what I've found that works for me is short periods of very soft long tones in mid to low registers until I'm feeling the nice warmth of the blood in my lips, followed by cooling with cool (not cold) water, followed by rest for about twice as long as I was playing the long tones. I will repeat this a number of times during the day. The alternating of warm and cool seems to help break down and flush the bruising and stimulate healing. May not work for everyone, but it does for me.
  4. rowuk

    rowuk Moderator Staff Member

    Jun 18, 2006
    There is no "quick" solution. If you have a performance coming up, you can't afford to not play. Grin and bear it, and make a New Years Resolution to be smarter next time.

    A bruised lip is seldom "bruised" with visable tissue damage, rather just overworked/beaten up with no tone, range or endurance as the result. You didn't tell us how it happened, but this is not unusual for young (or young at heart) players that think that they are indestructable.

    Above all!!!!!!!! DO NOT CHANGE YOUR DAILY ROUTINE!!!!!!!!!!!!!!!!! Consistant playing is a function of NOT introducing something new like taking time off, chemicals or the like. If you lower the impact of your playing by playing the same stuff - just more softly, your chops will get a break and your next performance will not be at risk of desaster.
  5. Markie

    Markie Forte User

    Jan 4, 2009
    Clarksburg, WV
  6. edfitzvb

    edfitzvb Forte User

    Jun 10, 2008
    Woodlawn, VA
    The problem with total rest is that technique suffers very quickly. I find that when I take 3 to 4 days off, the next time that I play, I am dismayed at how much more difficult everything is to play. Doc Severinsen once said, "If I miss a day of practice, I know it. If I miss 2 days of practice, the band knows it. If I miss 3 days of practice, everybody knows it." Amen.

    If I have overdone it and have to keep playing, I play frequently but I don't play as demanding a repertoire. While I agree with Rowuk that a consistent routine is vital to success, there are times when an intelligent player abbreviates as necessary. Keep things circulating and do the best you can. Try to avoid this situation in the future.
  7. tobylou8

    tobylou8 Utimate User

    Dec 22, 2008
    Guess I should have elaborated, but I was given 3 choices so.. (also probably should not post while sleeping at my desk) . You could also do your regular routines w/o your horn and just free buzz and/or use your mpc. only. Sounds like too much pressure was used. Mpc only is really hard to overdo from a pressure standpoint. Hoping for a speedy recovery.
  8. bigtiny

    bigtiny Mezzo Forte User

    Aug 14, 2005
    1) avoid getting to this state

    2) I usually take a day off

    3) when I return, try to practice my regular routine in a 'low impact' way. Same material, but quiet, don't 'push' just let things flow

  9. trickg

    trickg Utimate User

    Oct 26, 2003
    While it's a fantastic quote, I think it was Andre Previn who said it first.

    To the OP, about the only thing you can do is to take it easy. You probably don't need total rest or to be completely off the horn, but you could take a day off, and then start playing again, keeping in mind to take it easy and to go light at first.
  10. jmberinger

    jmberinger Pianissimo User

    Jun 5, 2007
    Long Beach, California
    For me, when I am feeling bruized or stiff, I work on the basics of sound production with Clarke Technical Studies 1. 2. and 3. I work as softly as realistically possible, taking short breaks between each rendition and just floating on the air stream thoughout the excercise.

    I then move through an octave of diminished thirds, starting on low f# and then working back and forth.

    For me, a lot of the issue is finding the physical/mental place I had before I pushed too hard in the first place.

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