| May I suggest...
The question of too much pressure comes often from bringing the mouthpiece to you in a way that 1) cuts off blood flow and 2) cuts off vibration so that the sound is non existent or flawed.
One of the many reasons that I talk about pronouncing "TOOH" as a source of curing so many ills on the trumpet is because it encourages several physical occurances without a lot of physiological thought from the player.
If you were to articulate each and every note with a TOOH or DOOH if you have to play a legato passage you would find a very nice natural cushion that occurs when you articulate. The trick is to maintain that without changing irrespective of the register you play. People often talk about Bud Herseth's legendary accuracy and consistency. Well, that came from two things: singing while he played and an almost catholic devotion to consistency of approach.
You'll find great relief from reducing this problem to a childlike approach of merely saying TOOH when you play with that kind of attention.
ML |