Lip Trilling

Discussion in 'Trumpet Discussion' started by Pseudonym, Jul 19, 2009.

  1. Vulgano Brother

    Vulgano Brother Moderator Staff Member

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    Ready for some of the finest of Vulgano pedagogy for free?

    Here goes:

    Let us assume we are working on a "trill" between c in the staff and e (top space). First, we are going to mess with the rhythm and have a series of grace notes and longer ones--"c-eee-c-eee-c-eee (all slurred, of course)" and the opposite--"e-ccc-e-ccc-e-ccc (here 'ccc' means a longer c)." This trains the instant movement from one note to the other. This is millesecond stuff, and it is o.k. to break it down.

    Wait, there is more!

    Which was harder" "e-ccc," or "c-eee?" For most folk, slurring upwards is a bit more difficult (gravity and all [unless the composer makes you skip harmonics going down,]) and we come across the issue of where "home" is, which is usually the lower note.

    Consider a person with two intimate friends. Ideally they will live between the two friends, so that each is an equal distance apart. (Being Politically Correct for The Brethren is such a pain!) Going chromatically between our c and e, somewhere around d is middle ground, Here we can invent two sub-sets of exercises:

    Play "d,e,d,c,d,e..." until you can do it real fast, then leave the "d" out.

    Exercise two has us "buzzing" a "d" on the mouthpiece, memorizing the "feel", maintaining that "feel," and using that as a "lock in" point--not the "c," not the "e." Home lies between the two.

    Third and last trick, stolen from Denis Wick: Play the "trill" in slow motion, with a lip glissando between the notes, and note where the change between notes takes place. Nothing magical other than awareness.

    Do these things along with your other exercises and wait for the miracle.

    Have fun!
     
  2. Pseudonym

    Pseudonym Pianissimo User

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    You're always so helpful, Vulgano. Where did you get all your wisdom from? (;
     
  3. Markie

    Markie Forte User

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    I advocate a different type of thinking.
    I suggest to students to think of lip slurs as "Tongue slurs" and to "Think whistling". When you whistle you change the pitch by changing the oral cavity with your tongue. Needless to say a great divide separates those who say "it's only the aperture" and "its the manipulation of the oral cavity".
    I suggest its both. Adjusting the oral cavity effects the air stream that passes through the aperature. I like the idea of "trust but verify" with supporting literature when giving advice.
    A very good article (one that I've recommended many times) is called Arch Tongue and Hiss that can explain it quite well. If you 'think whistling" it will work. Try it for a couple of months "seriously focusing on the tongue" as the major component that changes the pitch. Once you get the hang of it you'll say "I get it" and all of a sudden your progress in this area will increase dramatically.
     
  4. ComeBackKid

    ComeBackKid Fortissimo User

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    Thanks to everyone for the videos, the descriptions and the helpful hints. From the videos I think that I have an idea of what is supposed to happen. Now, I will try the exercises and the other hints to see if I can make anything even remotely like that happen.
     
  5. operagost

    operagost Forte User

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    I really hate that live version of "Give it One". I mean, playing it about 50 bpm faster, then inexplicably playing the chords in the second bridge in whole notes like you're in rehearsal checking pitches? It's like the crash after a caffeine rush. Maynard didn't miss many notes, but he could miss on an arrangement.
     
  6. rowuk

    rowuk Moderator Staff Member

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    Hate is a state that I reserve only for the most VILE, destructive people (like the bankers that knowingly brought our money system down - and are doing it again - with government bail out funds).

    50BPM could only perhaps change my preferences. In this case it was a popular example of a trumpet technique under discussion that caused the quote.
     

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