The way Maynard held his horn

Discussion in 'Trumpet Discussion' started by Alex_C, Sep 7, 2010.

  1. turtlejimmy

    turtlejimmy Utimate User

    Jun 6, 2010
    Sorry!!! Didn't mean to say "she" ...... All that long hair! :shhh: :-P

    70's .... right. :oops:


    btw, that was a nice trombone solo, wow.
  2. Alex_C

    Alex_C Piano User

    May 30, 2010
    Gilroy, California
    This is why I watched like a hawk to see if MF used the ring when he was playing low, that clip I found had him playing low as much or more than high.

    This is a great thread :grouphug:
  3. Moshe Mizrachi

    Moshe Mizrachi Pianissimo User

    Feb 17, 2010
    Last edited: Sep 8, 2010
  4. Satchmo Brecker

    Satchmo Brecker Piano User

    Jul 19, 2010
    How do you tell if you are downstream vs. upstream player? The only thing I can think of is if you have a natural overbite (I think that's what it's called, like Bart Simpson), then you'd blow downstream, a natural jutting out jaw/underbite (like Marlon Brando in the Godfather) then you'd blow upstream.
  5. Moshe Mizrachi

    Moshe Mizrachi Pianissimo User

    Feb 17, 2010
    As a friend once posted and I will paste here...

    For 2 drawings that illustrate the differences between downstream and upstream embouchure, see the bottom of the Web page at
    Click on the drawings to get larger images.

    For more-detailed info,
    go to
    scroll down to the middle of the very long Web page
    to the heading "Reinhardt's Embouchure Types".

    There are mouthpiece rings that can be held to the embouchure for buzzing so that you can see the lips, such as...
    Bach Embouchure Visualizer

    A large metal washer or plastic ring will also do.
    Buzz on it like it is a mouthpiece doing a fairly high note and look at your lips in a mirror while you are doing it.

    If the lower lip slightly curls under the upper lip, so that the air stream goes downward, then you have a downstream embouchure.

    If the upper lip slightly curls under the lower lip, so that the air stream goes upward, then you have an upstream embouchure.

    You don't choose which embouchure to have.
    You are born either upstream or downstream.
  6. horner

    horner Pianissimo User

    Jul 19, 2008
    London, England
    I watched an interview with him on youtube and that was the reason he gave then.
  7. fraserhutch

    fraserhutch Mezzo Piano User

    Jan 23, 2004
    Novato, CA, USA
    I know a couple of guys who do the same sort of thing, and one of them told me it was to get his hand off the bell and thus increase (or at least not impede) the resonance.
  8. bigtiny

    bigtiny Mezzo Forte User

    Aug 14, 2005
    the other one that people are guilty of is putting their finger in the ring (right hand) when they play. I used to make sure students didn't do that. It's just asking for trouble.....I would insist that they either keep their pinky away from the ring, or set it on top of the ring. The ring is only for holding the trumpet when you're not playing it. The one exception is when you're working with a plunger mute...

  9. horner

    horner Pianissimo User

    Jul 19, 2008
    London, England
    Thank you for posting that because I had no idea you were not supposed to put your finger in the ring. I was taught that that was how to hold it all the time.
  10. rowuk

    rowuk Moderator Staff Member

    Jun 18, 2006
    Your grip is NOT the reason that you play with too much pressure, your pressure is. It has NOTHING to do with the pinky ring either. It is mostly underdeveloped chops and breathing that limit your range, and pressure that makes up the difference. Once there is synergy between body soul and mind, then we can reduce the pressure. In any case, the angle of the horn to your face has a lot to do with your teeth, not your hands. Handicaps like arthritis give us reasons to compensate in creative ways.

    I am not sure that "minimal pressure" is the optimal goal for every player. I think as we mature musically, we discover a balance that lets us play what we have to in a very acceptable way. I studied with Ghitalla a couple of summers and he did NOT make every player go minimal. He really spent time optimizing for each player. He used his ears not a tension scale. He was the only "very low pressure" symphony player that I have ever played with.

Share This Page