Lips Slurs - Yet Another Thread

Discussion in 'Trumpet Discussion' started by Ric232, Jan 30, 2011.

  1. Ric232

    Ric232 Pianissimo User

    Apr 30, 2009
    Coastal GA
    I'm working on getting my slip slurs as clean as possible. One thing I notice with accomplished players is that there is an uninterupted transition from one note to the next when doing lip slurs. Take 2nd line G up to 3rd space C, for instance. When I do it, there is an instant where the is an airy sound ("hoo") between the G stopping and the C starting. Also, I notice with good players that with a lip slur down (again, say 3rd space G down to 2nd line G) it sounds like "tee-yah" . . . not "tee-ah". There is a very distinct "y" pronunciation, especially when doing the slur quickly or lip trills. My point is, it's very clean and I hear NO air. I've been working hard trying to get this right but I just can't seem to get it. I'm convinced this will be a sizable step in my playing overall and also my tone quality. Thoughts would be appreciated. I'm fairly certain I'm using good air support.
  2. bumblebee

    bumblebee Fortissimo User

    Jan 21, 2010
    Great Southern Land
    Last edited: Jan 31, 2011
  3. homebilly

    homebilly Pianissimo User

    Dec 29, 2010
    Los Angeles & Paris, Fran
    Earl D Irons 27 groups
  4. Vulgano Brother

    Vulgano Brother Moderator Staff Member

    Mar 23, 2006
    Parts Unknown
    The conception of "tahh-eeh" works fine for beginners. The real stuff happens between the tones.

    Play one of the "tahh-eeh" slurs (or whatever vowels you choose) in slow-motion; really, really, really slow-motion. We do not focus on speed at this point, but rather on awareness on the point of change between the "ahh" and the "eeh" (or whatever vowels you choose) at the point of change.

    Once aware of that point of change, get to know it in a casual kind of way. At this point you are ready for the oft repeated "Magic Bubbles" script:

    When we play a note, the air column inside the instrument has defined and mathematically predictable areas of high pressure and no pressure. In physics these are known as nodes and anti-nodes. The higher the tone, the more of these nodes inside the instrument. With a horn of sufficient light weight, we can play a long tone we can gently run a finger around the leadpipe and/or bell and feel some of the vibrations. Change to a different harmonic and that place will move.

    Now for the esoteric part. Playing a long tone, we can shift our awareness to inside the trumpet, and imagine/feel a point of resistance somewhere inside the horn. I call these "magic bubbles." To slur up, we can "blow" this magic bubble further away, backing off will allow the magic bubble to return to its place closer to the mouthpiece.

    Our body will memorize the feel of these notes and nodes much more quickly than the cognitive control of several variables can. Remember that the embouchure is (or should be, in the Zen Vulgano philosophy)formed in part by the note that it is playing.

    Experiment a bit, and have fun!
  5. fraserhutch

    fraserhutch Mezzo Piano User

    Jan 23, 2004
    Novato, CA, USA

    +1 - also Sclossberg's flexibility exercises

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