I finally read most of the "how a trumpet works" thread, though I started to gloss over the stuff about amplifiers, impedence, and gap. What interests me most is the "Backoffice" or "Software" end of things, which were touched upon briefly. Beginning with our "Generator" - the lungs - some would refer to as a bellows type of configuration. This would include abdominal muscles, back muscles, the chest cavity, etc. How the lungs can produce wind energy, and what the player can voluntarily control - posture, chest up, full breath etc. Moving on to how posture affect the air column coming through the throat (I belive Rowak indicated that it does/can). The throat itself, I am thinking of "Ha" and "Ho" breath sounds. Then oral cavity and tongue arch, how this affects air speed etc. Finally, the lips/aperature and mouthpiece combination, vertical pressure pushing the top lip against the bottom lip, radial pressure - an inward pressure toward the aperture, and horizontal pressure pressure of the mouthpiece against the lips. Those better versed than I will probably have some changes to this list - possible additions or subtractions in case I missed something or have put something in that should really be part of something else. Let me give you a little background for what I am thinking about, though I'd rather not limit this to this particular scenario - or start another air speed thread: - I know I can produce an emmense amount of air pressure - far more than the chops can handle - enough that if I just blow throught he horn it'll whistle; there is no way that amount of air pressure would be required (at least I don't think so). - I know that when I am rested I can produce notes above high C with relative ease - with relatively little effort. - When I become tired, it gets harder to produce higher notes - If I push harder with air, I might just overpower my chops - I am assuming that the combination of vertical/radial pressure is failing due to fatigue, so the "natural" response is to add horizontal pressure - and this works - to a point. - Yet, I can feel at the point where nothing is working, and my teacher can coach me to again produce notes that I'm otherwise missing - not necessarily to the full extent of my range when fresh, but still. - That being the case, there must be inefficiencies that creep in even though the engine can produce more than enough air/air pressure. Moreover, self analysis at the time of failure seems to make things worse - hence I am assuming some sort of tension - restricting air flow? Restricting the free buzz of the lips? Whatever. So, you probably get where I am going with this - There are a bunch of factors - which I have tried to outline above. If I'm breaking one of those pieces when I play, well you get the idea. What do you think, is this a worthy topic?