Mouthpiece Pressure Assessment

Discussion in 'Trumpet Discussion' started by Markie, Jan 28, 2010.

  1. Markie

    Markie Forte User

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    Jan 4, 2009
    Clarksburg, WV
    Without a doubt, one of the most common questions Trumpetmaster receives are questions about " MOUTHPIECE PRESSURE". Hundreds of questions are asked and hundreds of answers are given. Questions range from "There's a ring on my lips" to "My lips are numb".
    The shear number of similar questions got me to thinking. Why not come up with a way or find a way (or assessment) that a player can use to help determine if they are using too much pressure.
    This is a "self assessment" for the person who isn’t blessed with a good teacher but has access a cheap recording device.
    By using this method, a person can record themselves and assess the likelihood of using too much pressure by listening for the characteristics listed below.
    Some players (with exceptional ears) notice the characteristics listed below in their playing without the benefit of a recording themselves but never quite knew why they happened.
    I wish this was my complete idea but some was gleaned from a famous trumpet text (pages 19 &20) which I highly recommend to any brass player.
    ------------------------ Here goes!!---------------------------
    The fastest way to obtain notes on a brass instrument is to adjust the amount of mouthpiece pressure against the lips. Very little pressure for low notes and a lot of pressure for high notes. It makes sense and, it works!
    Since it seems to be human nature to follow the path of least resistance, we find the average brass player (who isn’t blessed with a good instructor) obliged to develop their own PRESSURE SYSTEM of playing. The only advantage of this system is a "quick start".
    Let me point out the disadvantages of "strong-arm trumpet playing as I have seen them:

    FAULTY INTONATION (playing out of tune)is the most common failing of this method. This type of player tends to move sloppily up and down to notes instead of striking the center of the intended pitch.

    WEAK LOWER REGISTER Continued pressure causes the lips to swell or thicken to the point that they will not vibrate at the low frequency required in the lower register. The tone in this register is usually "windy".

    COURSE EXECUTION An inability to play delicately. The staccato notes tend to be short and detached and have a sharp, ragged edge to them instead of being light and round as a bubble

    BLIND NOTES Notes that fail to sound out, often happening in soft passages.

    UNEVEN SLURRING Fails to get a smooth, flowing sound and pitch usually suffers.

    SPLIT NOTES When the player attacks a note, then flies off to the partial above or below the intended note.

    NUMB LIPS This is when the lip become numb from cutting off the circulation. An often asked question on TM.

    DAMAGE TO LIPS After years of playing with extreme pressure the tissue will become damaged not unlike feet after wearing too tight shoes.
    --------------
    Try This:
    1)Pick up the trumpet and play a soft fat long tone.
    2)Stop playing, and take the tuning slide out.
    3)Now, play a "soft" long tone(it will sound like a buzz) through the mouthpiece and lead pipe.
    4)Strive to get a soft steady buzz sound that does not quiver.
    5)Now, begin to apply a little mouthpiece pressure.
    6)What do you hear and feel? The sound goes up when you apply pressure and down when you reduce the pressure and you should feel that it is real easy to use pressure to change the pitch. If there is no change in pitch, you are already pressing the mouthpiece against the lips too hard.
    7)OK, Stop. Blow out the lips like a horse to loosen them up and imagine (yes, imagine) your lips are a meat pillow that your mouthpiece rests on. Don't crush, smash, or flatten the meat pillow. Just put the mouthpiece against the lips tight enough to create a seal so air doesn't leak out.
    8)Now, play the lead pipe again and this time use the corners of the mouth to change the pitch. Those are the muscles you need to focus on.
    9)Do exercises involving lip slurs using the 7 valve combinations(one minute for each valve combination) using the corners of the lips instead of mouthpiece pressure to change the pitch.
    Go as high and as low as you can "while maintaining a good sound".
    What is a good sound? Soft and light, not brassy, blatty, and smeared. Be sure to not fall back into the old habit of mouthpiece pressure when you get tired. If you notice you are using pressure while playing, stop playing, blow out the lips like a horse, and start again.
    10) Will this exercise kick your butt? OH MY YES! You are using muscles you've not used before and they need to be strengthened. When you do these DAILY exercises, play the slurs with a soft full, unbrassy sound.
    You will be amazed how much better your overall playing will get in as little as a season. If necessary, bust up the exercise into two parts. Do the first four valve combinations, take a break and then do the remaining valve combinations.
    11)The 7 valve combinations for lip slurs are:
    0
    123
    13
    23
    12
    1
    2
    ----
    Assess yourself by recording yourself. That way you become your own teacher. Ask yourself when you listen to the recordings(on the way to school or work), "How do I sound? Is it soft and unbrassy? Do I hear some of the characteristics listed?"
    PAY CLOSE ATTENTION TO WHAT THE LIPS AND THE MOUTHPIECE ARE DOING. DON'T FALL BACK TO USING MOUTHPIECE PRESSURE WHEN YOU GET TIRED.
    In addition, a good video to watch on youtube is Urban Agnas' "Flow".
    Pay close attention to what he says about relaxation, how to breath and posture.

    Good Luck
     
    Last edited: Dec 2, 2010
    ryancibc likes this.
  2. crazyandy88

    crazyandy88 Pianissimo User

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    Nov 3, 2007
    Fayetteville, AR
    Great thread...I recently realized how reliant on pressure I am and have been working my way out of it. I had/have problems in many of the areas you listed, especially low register airiness and delicate playing. Since working on less pressure everything in my playing has improved. I have been getting positive feedback from my peers and teachers on my sound and playing is more fun(and I can do it longer). It no longer hurts after a long rehearsal/gig and I find that I feel less tension in my body cavity and throat. The exercise I use most for this and strongly suggest is Clarke technical study #1. It is great because it's quiet, starts low, and moves upward one half-step at a time so I can really keep my pressure in check. Thanks for the cool post Markie.
     
    Last edited: Jan 28, 2010
  3. BenH

    BenH Pianissimo User

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    Oct 14, 2008
    UK
    Wow, I pretty much ticked all of those... Oh dear.
     
  4. edfitzvb

    edfitzvb Forte User

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    Woodlawn, VA
    ....And the truth shall set you free...

    It still stings. I already was working on changing my approach to the horn, but to see the characteristics listed like that was not much fun. It did, however, confirm that I was justified in re-learning how to play.

    ...sigh...
     
  5. Keith Fiala

    Keith Fiala Pianissimo User

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    Feb 21, 2007
    Austin, Texas
    Pressure is used primarily as a panic response because the act of pulling the mouthpiece against your lips makes the vibrations pick up speed... to a degree.

    A couple of the best pressure breakers in my humble opinion is to learn to play as softly as possible... playing with pressure at a soft volume simply won't work. The approach has to be delicate so the lips can still vibrate. Another great exercise to help alleviate pressure is to practice free lip buzzing so that you build strength in the supporting muscles around your actual aperture.

    There is no such thing as "no pressure," but you certainly don't want to be drilling a mouthpiece through your pie-hole...

    Keith
     
  6. Markie

    Markie Forte User

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    Clarksburg, WV
    Keith sez:
    "There is no such thing as "no pressure," but you certainly don't want to be drilling a mouthpiece through your pie-hole..."
    ------
    Good point Keith!! There sure is a difference between creating a seal between the lips and the mouthpiece so air won't leak out and shoving the mouthpiece down your pie-hole.
     
  7. Markie

    Markie Forte User

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    Jan 4, 2009
    Clarksburg, WV
    oops duplicate post
     
    Last edited: Sep 22, 2010
  8. anthony

    anthony Mezzo Piano User

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    Mar 3, 2009
    Ok even if I come across as an ignorant fool I would ask do you put the tuning slide back in the trumpet before you do the exercise he suggested with the seven valve combinations ? duh thankyou Anthony
     
  9. gordonfurr1

    gordonfurr1 Forte User

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    North Carolina
    HAHAHAHAHAHA!
    Or, leave the slide out if you don't mind wiggling the valves for no reason.
     
  10. tobylou8

    tobylou8 Utimate User

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    Virginia
    You'll never get an answer from Markie. He quit the forum quite a few years ago. My guess is that everything in his posts was cut & paste from some uncredited source. I don't miss him.
     

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