Pivot, and natural embochure

Heavens2kadonka · 01-12-2005, 07:34 PM

(STORY TIME)

Okay, as most people here may have known, I have spent the better part of half the school year changing from a far right-side, 90/10 lower/upper lip maggio to a 50/50, center of the lips farkas. Well, I've spent the entire four weeks of winter break using only the center embochure. I had seen very little progress; though my higher register had improved, anything below a 1st octave G would not sound. It was infuriating.

Yesterday, I guess it all finally clicked, and be darned if I can't play my lower notes, even glissando/warp those notes around today! I will have to give credit to the notes on the Farkas embochure Pops has on his website, bbtrumpet.com. I finally found how to make the air flow on the lower register (It is more of an "ahh" sound, but you make the air focus towards the front of your mouth. Hard to explain). My tonguing seems more difficult, and my range is a high A, but its the absolute best sound I've ever been able to make on a trumpet.

(TOPIC TIME)

Anyways, I had some question. I have read on Pops's site that a "pivot" should be used for the extended register when using Farkas. I was wondering what that means.

The other question. When a child begins playing trumpet, they naturally want to place it where it feels best. Does anyone here know (or is) someone who naturally played Farkas or the other accepted methods?

Van

Bear · 01-12-2005, 09:47 PM

I dunno about any one specific method but I find myself using a pivot when I enter the altissimo registers... I believe if you do some research on lead players (i.e. vids, pixs, etc) you will see that they also use a pivot for the higher registers... For me, I have found that lower leads to higher. Meaning, when I work on my pedals, the high doubles really start to develop. It's all about the air and compression baby!!

Heavens2kadonka · 01-13-2005, 12:11 AM

Taken from Pops's site (again). I should have looked around a LIttlE bit harder..

Quote:

Pivot.

A key feature in maintaining an open airway is a pivot. You could write hundreds of pages about this. But that's already been done.

In a nutshell by raising or lowering the bell of your horn while you are playing you can maintain a more open airway and clearer tone.

As you play higher and lower the air stream will slightly move in the mouthpiece. If we can keep it lined up with the throat hole the sound is better.

The SLIGHT bell movement will produce an opposite movement or realignment of our lips to the mouthpiece.

Now which way do you move the bell?
I can't tell you without seeing you play. That has to do with weither you are an upstream or downstream player, mouthpiece placement (50-50, 1/3-2/3, 2/3-1/3.....), embouchure used and relationship between the sizes of your top and bottom lip.

You can determine this for yourself.
Try this test .
Play a low g 1-3. Move the bell up then move it down. One way should improve the sound.

When you move to a lower note from now on always pivot this direction.

The opposite direction will aid the upper notes. This is a good movement whenever you have to leap between notes.

Pops

Sorry bout that first question, then.

Van

Bear · 01-13-2005, 02:58 AM

eh, it's what we are here for. Play on!

01-12-2005, 07:34 PM	#1 (permalink)
Heavens2kadonka Forte User Join Date: Jun 2004 Location: Carthage, TN Posts: 1,311	Pivot, and natural embochure (STORY TIME) Okay, as most people here may have known, I have spent the better part of half the school year changing from a far right-side, 90/10 lower/upper lip maggio to a 50/50, center of the lips farkas. Well, I've spent the entire four weeks of winter break using only the center embochure. I had seen very little progress; though my higher register had improved, anything below a 1st octave G would not sound. It was infuriating. Yesterday, I guess it all finally clicked, and be darned if I can't play my lower notes, even glissando/warp those notes around today! I will have to give credit to the notes on the Farkas embochure Pops has on his website, bbtrumpet.com. I finally found how to make the air flow on the lower register (It is more of an "ahh" sound, but you make the air focus towards the front of your mouth. Hard to explain). My tonguing seems more difficult, and my range is a high A, but its the absolute best sound I've ever been able to make on a trumpet. (TOPIC TIME) Anyways, I had some question. I have read on Pops's site that a "pivot" should be used for the extended register when using Farkas. I was wondering what that means. The other question. When a child begins playing trumpet, they naturally want to place it where it feels best. Does anyone here know (or is) someone who naturally played Farkas or the other accepted methods? Van __________________ Stage 1 California Light '94 Bach Strad 37 1900 Eb Cornet B&S 7C LOUD Steve Patrick 10 1/2 C LOUD LM93

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01-12-2005, 09:47 PM	#2 (permalink)
Bear Mezzo Forte User Join Date: Apr 2004 Location: WY Posts: 870	I dunno about any one specific method but I find myself using a pivot when I enter the altissimo registers... I believe if you do some research on lead players (i.e. vids, pixs, etc) you will see that they also use a pivot for the higher registers... For me, I have found that lower leads to higher. Meaning, when I work on my pedals, the high doubles really start to develop. It's all about the air and compression baby!!

01-13-2005, 02:58 AM	#4 (permalink)
Bear Mezzo Forte User Join Date: Apr 2004 Location: WY Posts: 870	eh, it's what we are here for. Play on!

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