I just can not figure it out

Discussion in 'Trumpet Discussion' started by taejo98, Mar 2, 2015.

  1. Michael T. Doublec

    Michael T. Doublec Pianissimo User

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    Nov 20, 2014
    Hi there,
    I took the time to read the whole way through and caught the part about a strange embouchure. First off, if you are playing on too much upper lip that explains your endurance problem. After a lesson with Lynn Nicholson, he fixed my similar problem. Over the years my embouchure had crept upward to about 2/3 upper lip and 1/3 lower lip. I was unaware of the move. Then I began having endurance issues. If the lips are not centered they take a lot of fast (loud) air to move, and because your upper lip is so large and heavy, it gets tired because of the excessive tension needed to sustain the air flow and vibrate. Your airstream hits the sidewall of the cup, and that backs things up even more, requiring more brute force to sustain. So when your chops are not centered you must work very hard to compensate for the bad habit. At that point very little progress can be made. Go and get just the rim of a mouthpiece. I had a machinist friend of mine cut off one from an old mouthpiece I had. Then look in the mirror and the chops should be at about the middle. Learn to play this way and things will get better. Practicing something wrong, only insures you will continue to play it wrong. There is no amount of overbite I have ever seen that would make the kind of compensation you describe necessary or wise.

    Mike Fesi
     
    Last edited: Mar 3, 2015
  2. taejo98

    taejo98 New Friend

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    Mar 1, 2015
    hi Michael,

    I can relate to some of the things you say, but alot of books I use to study also say that there is no "good"embouchure that is the same for everyone and that you should play in the way you feel comfortable at and this is the way I played since the very beginning, but maybe this is a little too extreme, because I do play on 2/3 upper like you mentioned
     
  3. Michael T. Doublec

    Michael T. Doublec Pianissimo User

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    Nov 20, 2014
    taejo98,
    Try an experiment. Buzz your chops no mouthpiece, with the heel of your hand resting on your chin, palm up, fingers pointing out. When you buzz you should feel some air hitting your hand below, right about the middle of your palm. That means you are a "down" blower. If you figure the angle downward the air is blowing and then relate that to where that same air stream hits inside the mouthpiece, then you know you are blowing into the side of the cup. You should feel as though you are shooting the air right down the center, but it actually must hit the cup at an angle where the air can spin before going out the shank. With 2/3 upper lip and your angle of holding the horn, this will probably not allow you to get much better. There are many reasons to correct your embouchure, and only excuses not to.
     
  4. Ed Lee

    Ed Lee Utimate User

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    Jackson NC
    IMO advice being given is going askew and becoming jumbled. Absent a face to face study of the player's lip/facial physiology and oral and dental structure no other can properly suggest improvement in embouchure/aperture to attain improvement in endurance. In fact endurance is attained only with dedicated and tedious practice over extended time. It is mostly muscle development and sustainment of that development ... and hopefully without pulmonary affliction.

    Attempting to center all your air into the throat of the mouthpiece is misleading. As your air leaves your aperture it expands and fills the cup and then the science of physics takes over to force it into the throat in a swirl as then transforms into the standing wave of sound in the back bore of the mouthpiece and lead pipe of the instrument.

    Many suggest this or that book of exercises, but I've the suspicion that many are not more than a publishing promotion with much similarity to others, and are not the sole work of an endorsing artist or accredited instructor/teacher. To this, I say that if your practice regimen includes an extended depth of study of the songs you want to play with an effort to create a perfect sound of each note, that your endgame will be just as complete and much more enjoyable.
     
  5. gmonady

    gmonady Utimate User

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    Dayton, Ohio
    This comment is right on the Dr.Mark. You must work do develop the muscle behind the range. It's not bruit force muscle but well toned muscle that can achieve the amount of vibrational energy to achieve resonating the horn to reach to a higher range. Muscle function is a result of exercising the muscles. This takes work. Daily practice and on a rigid routine. Then, and only then will you develop a range that will last you through a 4 hour gig. It is a commitment and at times addictive but achieving such a goal has been one of the most rewarding experiences in my life and well worth the sacrifice and devotion (for me).
     
  6. gmonady

    gmonady Utimate User

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    Dayton, Ohio
    By the way, for endurance, I must admit, the vintage Jettone mouthpieces do help me a lot.
     
  7. taejo98

    taejo98 New Friend

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    Mar 1, 2015
    Hi Michael,

    When I try that experiment the air hits my fingers, just above the palm and not so much in my palm
     
  8. Michael T. Doublec

    Michael T. Doublec Pianissimo User

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    Nov 20, 2014
    taejo98,
    The point is that your airstream goes downward. Since you tilt your head down, point the trumpet up, the air is being blown directly into the side of the cup. This makes you work harder, blow harder and tire quickly. I'm going to list a link to Lynn Nicholson's face book page. In the second segment he demonstrates on the rim only, and goes to a double high c. If you can get a hold of a rim (try ebay) look at your chops and compare. Also try you tube for Lynn Nicholson and search for a video titled "No stinkin horn". His technique is absolutely correct. Copy that if you can.

    https://www.facebook.com/video.php?...b.100004206160826&type=2&theater&notif_t=like

    Mike Fesi
     

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