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Discussion in 'Trumpet Discussion' started by Smrtn, Dec 2, 2014.
Hah!!! Nothing would work better than a video tape of one of my lectures!
My theory of relativity is: If you have relatives, they will ask you for money; and their sense of 4th dimensional timing is way off.
tell me who here on TM -- can guarantee they don't change their aperture????? or the blood flow remains constant, the muscle reaction is the same, etc. etc. etc
there is no underside hole ---- just 6 holes on top plus the embouchure hole -- the octave jump is produced by going over the 45 degree angle in the embouchure hole, the air is going faster, and provides a higher pitch --- it's all physics really (it's similar to this vid) -- but that is NOT ME
so if you push more volume of air through the same size aperture ---then "only the vibrations get faster?" --- and the physics of air as a fluid is unchanged?? ---- yeah, right, like I will ever believe that. (((you people all consider that your "lungs" can't produce faster air))) but most of you don't address the same volume of air going through a smaller aperture ----- except that the air, or lips, or sound just vibrates faster ---- oh well, what more do you need from me????
have a nice day --- just practice more -- all of you can play any high note you imagine -----
Gracious, where do I start the eyeroll?
IMO, if similar to the vids, you are producing more of a recorder (variable tone whistle) than a fife or flute. Fifes and flutes are played with the lipping similar to a bottle or jug and held usually to the right side of one's face. I've got what you depict made of wood that I acquired from my maternal grandfather's house. He could have made it, but I don't know that. It certainly looks home-made.
Doesn't "firming up" mean pressing the lips together? The way I perceive it, if I do not reduce aperture size with increased air support, I just get a louder note of the same harmonic, and a resulting increased outflow. If I resist the increased support, lips jump to the next harmonic with a similar volume of the note, and a decreased outflow.
My playing is not as c**p as it used to be and when I do ascending octave slurs I feel the aperture getting smaller without any doubt whatsoever. This is especially noticeable when doing ascending octave slurs from 2nd line G and up. The change of shape necessary is quite significant. Greg Spence elaborates on that change of shape very well in his Mystery to Mastery series. In fact, I can say that my playing has improved thanks Greg's description and to my teacher hammering that my lips had to be closer together, and having me systematically use nose breaths in order to not disturb the shape before attacking a note. I now feel a lot more comfortable attacking notes following a nose breath, especially 3rd space E and above. I don't even usually try to attack notes at or above top line G following a regular mouth breath. I can do it, but I find it a lot easier and more reliable following nose breaths. The additional time required to breath through the nose is compensated by the immediate "readiness" of the embouchure.
I tried the free buzz thing and I tried it with a closed oral cavity, using the tongue as a piston as one would do when attempting circular breathing. It's a much smaller available volume so it facilitates the test. I personally felt a quicker emptying of the cavity with lower notes than high notes. I experience the same with mouthpiece buzzing, but I have to say that I do not usually try to keep up high notes for a longtime when MP buzzing.
Good well presented post, Philippe. I've looked at compressing the lips together to go up a la Pops, but although it works to a point, I just end up with too much air support and no aperture. Doesn't work for me. As things stand, I try just to use aperture for volume and breath support for range.
If anything 'firming up' means more just tensing the muscles a bit, especially at the corners, and if anything, pulling a bit on the centre to keep the aperture open. The mechanic in me tells me I'm increasing the rigidity of the lips to make them twang faster, but that may be codswallop too.
I guess this really touches to one of the great difficulties of the instrument. Finding workable visualizations of what we are actually doing is tricky business, especially when we don't all perceive what happens in the same way. Now explaining to someone else, gee. Better just play...