Understanding Air Flow?

Discussion in 'Trumpet Discussion' started by Mark_Kindy, Aug 28, 2012.

  1. graysono

    graysono Mezzo Forte User

    Jan 22, 2007
    Hyde Park, Utah
    Hi Mark:
    I don't know if this will help, but it is something I use in warm up and thru my entire practice session. Take Irons' (27 Groups of Exercises) Groups 6,7, and 8. These are rapid slurring exercises that will aid flexibility and, I believe, may immediately tell you when the airstream is insufficient. His instructions are interesting. You start these off playing as many repeats as you can in a single breath. With practice your speed increases and the numbers of repeats you can do rises. You are always to stop in time to play a clear ending pause note. From there, you could go to any flow exercises that you have, in which you try to extend the amount of the etude/exercise you are doing without a breath. Good luck.
  2. s.coomer

    s.coomer Forte User

    Mar 25, 2005
    Indianapolis, In
    You might try playing things in a singing style. Think how a singer would sing whatever you are playing and then play it as a singer would sing it. One note leads to another and another and so on. Relax and enjoy the music.
  3. Cornyandy

    Cornyandy Fortissimo User

    Jan 9, 2010
    East Yorkshire
    I always think of my tongue as a valve shutting off and opening the airway but the airstream from "down below" is always constantish, for me the breath and diaphram diafgram diaghram (dam it "gut" how do you spell that word) control volume, smoothness etc and the tongue only controls articulation. Some people come into problems when the tongue actually initiates each note, try playing long note exercise without using the tongue to initiate the sound and then feeling that smoothness in you playing

    Hope this helps
  4. vern

    vern Piano User

    Mar 4, 2008
    May a rank amateur chime in? I believe that flow is a major aspect of trpt playing and many (Clarke and others) deviced flow studies to overcome this basic obstacle to good trpt playing. I practice these studies daily (Vizzutti technical studies, Clarke technical studies, flow studies) with my ear being the determinant of what should be happening. In other words, I don't get hung up in what I'm doing physically--I concentrate on what I'm hearing. Please dismiss my comments if they don't make sense.
  5. Vulgano Brother

    Vulgano Brother Moderator Staff Member

    Mar 23, 2006
    Parts Unknown
    Makes perfect sense to me. The "problem" isn't air flow, it is what comes out the bell. Address the sound and the body follows.
  6. Mark_Kindy

    Mark_Kindy Mezzo Forte User

    Jul 11, 2010
    Gainesville, FL
    This is what I've currently been prescribed, that's satisfying to know that it has helped you.

    That's what I've felt like is happening -- that's I'm losing the buzz. I'm not sure where I would go with changing cup sizes though (you mean cup, not rim, right?) because I'm not that experienced with cup changing (other than medium to extremely shallow, done very few deep).

    I have watched that ^.^

    I've found that when I can clearly hear phrasing for an etude in my head (like in the Concone etudes) I play it much more easily... so interesting.

    Well, I'm trying to not focus on my lips and such, and I understand what you're saying. I'm just having difficulty really hearing a difference in my playing at this point (when I do it successfully vs not) even when my teacher points it out :/

    and @ Graysono -- I've actually started doing Irons, so I'll look at that, thanks!

    Thank you ALL for great feedback! I appreciate it :D
  7. patkins

    patkins Forte User

    Nov 22, 2010
    Tuscaloosa, AL.
    Hey Marl, I'm glad to see you back. I think you have been given great pointers and I know with the suggested execises that you will see progress. The fact that you can hear the problem and are exploring solutions shows a humble disposition and that you are educable. these are your best attributes to gaing greater success. The only thing I can add is to relax before you practice. Take some deep sighs,(i.e. diaphragmatic deep breaths) 4-5 times. Fill your lungs to full capacity then exhale with your mouth wide open. This will give you a detox, (i.E. to get rid of CO2 and an increase O2) and promote a longer ability to sustain. I do these execises several times daily.
    Best Of Regards to you!
  8. turtlejimmy

    turtlejimmy Utimate User

    Jun 6, 2010

    Diaphragm. I think that's spelled right. Whoever came up with spellings for the English language was not a nice person. :noway:

  9. kingtrumpet

    kingtrumpet Utimate User

    Sep 20, 2009
    New York State USA
    Mark -- of course people love to disagree with me, BUT the air flow is consistent not only when you hear the sound coming out of the bell --- BUT ALSO when you "feel" your aperture and it's consistent buzz for all notes. YES -- the air changes for different notes, but if you "are in tune with your body, and everything that is going on with it" --- you can probably feel the air passing through your aperture. You can "feel the buzz" so to speak. And when the "buzz" in the aperture feels the same on all notes --- then , by George, I think you got it.
    know your body, feel the vibrations through the aperture --- that will help you "feel the good air, and the good support, and the consistency of it all"
    WOW -- wait to the pros -- get a hold of this one, most of them are so used to this "scenario" that they probably don't feel the air anymore. that somehow reminds me of the late great NASCAR racer - Dale Earnhart, and he used to say that winning the race in Daytona and other large racetracks was because he "could feel the air", the draft created by other cars, he felt the air, to know where to be for the best passes on the track. or so he used to say.

    Feel the air Mark -- Feel the air!!!!!
  10. turtlejimmy

    turtlejimmy Utimate User

    Jun 6, 2010
    The physical sensation you're looking for could be a kind of "gentle physical squeeze around the lower chest area". That's exactly how my singing coach described the feeling that goes with a small amount of compression that singers need, so that when they sing a word, threre is a little bit of air that they had been holding back. He said that, as a singer, you never want to start singing from a compression-less place. Same with trumpeting, only the air flow is even more compressed, and so the physical sensation should be easier to feel. Check it out.

    Last edited: Aug 30, 2012

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