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Discussion in 'Trumpet Discussion' started by RussellDDixon, Feb 25, 2015.
welcome to TM Lynn --- I appreciate your YouTube vids ----
Has anyone actually increased their workable range by a fifth or an octave?
The most extreme example was a player who participated in a group lesson a few years ago, when I still taught privately. There were 4-5 players in the group, all of whom had lots of questions. This player, who had a range of about high E-F, sat quietly and just listened. I figured he wasn't getting it. After the initial presentation, I sent the players to different rooms about the house to try out the concepts on their own. In a few minutes I heard someone in one of the other rooms arpeggiating very accurately and cleanly all over the horn. As I listened, he worked his way up and made it up to triple C. I asked the player who stayed with me (who was BTW a bit shocked) if this was normal for this very quiet trumpet player. He said absolutely not, so to verify, I went and asked the quiet player directly. He could barely contain his enthusiasm, and said this was the happiest day of his life. Soooo, that's about a 5th, plus another octave. He listened to the concepts, and spontaneously let go of the conventional wisdom that wasn't working for him, and proceeded to apply the radical approach that Maynard and I employ. This player was upstream, so he sounded more like Brisbois than Maynard, but the protocol is the same. There are several other examples of this spontaneous protocol implementation, most with a range increase of a 5th or more, but equally important, a full/uniform sound, unlike most of the mosquito players I hear today. At the very least, most players end up with a greatly improved sound. I myself spontaneously implemented the protocol (weak high F to roaring double C in 10 minutes), a few years before I met Maynard. When I finally saw/heard him play, I received massive confirmation of the protocol's efficacy. Sadly, most players have difficulty "wiping their slate clean" as Maynard would say. Your mileage may vary, but your success will be directly proportional to how easily you can let go of your current way of playing upstairs and fully embrace something new that actually works. Lots of snake oil out there. This is the real deal.....
uhm -- I have (yet haven't taken Lynn's course) -- not that I recommend the "do it yourself" method -- but I watched a whole lot of vids, and early on in my comeback 6 years ago --- got some good tutelage from Keith Fiala (another Maynard Alumnus) ------ the story now @ 50 is I can guarantee a decent high G (octave above the staff) ---- before I quit the trumpet (34 ish) -- I was only at the High C/D (the first ones above the staff) --- sure is not Maynard like ---- but hey, I will take the G and that A that are well above my "younger" years at a C/D
So I Rented the video.
First a little background, where I'm coming from...
I've used two embouchures for well over 10 years with varying degrees of consistency and success, but I can tell you that when the high embouchure is 'clicking', playing high is easy, fun and incredibly loud. But it is maddening - it seems like my high setup is a fundamental shift away from my normal embouchure, but I always have to fight bunching up too much, puckering up too much, too much forward tongue involvement, etc... It seems like the high setup is really 10,000 different ways to play high that have as common denominators 1. a feeling of detachment or lack of dependency on the teeth (good lip against lip compression, not pinned against the teeth), and 2. tons of air. Like I said, varying degrees of success and consistency. The sound can suddenly get small, then a few minutes later open wide up again. Maddening. Efforts to bridge the two embouchures have always met failure.
Back to the video. I agree with 99% of what he said, and it WORKS. And as it happened to me about 15 years ago, it can literally happen overnight. (Stumbling onto a new feeling with superman range... more about that later.) What I find at the moment very intriguing, is it now seems more possible than ever to bridge my two embouchures. Rent it and see for yourself.... watch the trailer first, then watch this YouTube video (MF 1969) especially around the 2:00 mark. He seems to be literally pulling lip OUT of the mouthpiece, making sure that too much lip isn't crammed in there.
Here's a couple of clarifications I would offer, and these are merely my humble observations. Lynn obviously has the final word on all of this.
1. It works better if you have the problem of too much lip compression, with the result being too small of an aperture and a small sound. This video will fix that. It may be more of a problem getting the hang of this technique if your 'besetting range sins' are something else. Then you would have to do as Lynn says and "aggressively pursue" the points covered in the video.
2. That rim buzzing is amazing. Not there yet. Ninja level 9,000 stuff. Nice!
3. Everything you've done up to now probably won't help you much - the lightning bolt moment will be a brand new feeling. Meaning, you do a certain 'thing', and the result surprises you, and is nowhere near what you expected, a True wow moment. Trust the process, and take previous years of experience with a grain of salt, and really try something completely new.
4. Lynn States that faster air = louder, not higher. I disagree, but will say that if you do not compress the air down below, you are setting yourself up for failure. Lynn does admit that a wide horizontal buzz equates to a bigger sound, and a larger vertical buzz equates to louder playing. That larger vertical buzz sounds an awful lot like a larger aperture to me.... which would mean more air is going out, lungs get depleted faster, but the air isn't any faster, just more of it. But even though I'm pretty certain on this point, I will figuratively bow to Lynn until I can play better that him... ha... looks like I'll be bowing for a while
Thanx Lynn, awesome video!