TrumpetMaster - View Single Post - How effective is a shallow cup in giving you a higher register?

rowuk · 06-18-2007, 12:35 PM

Morris,
while your posts are interesting, all of those references leave out some very important things - the size of the lips when not playing has little to do with the size "compressed" or rolled in when playing. The strength of the embouchure or placement of the tongue are NOT dealt with.
It makes no sense to rant about size and shape because there are too many exceptions to the rules.

When I state that regardless of the mouthpiece that I regularly use, I have no additional range, that does not make me exceptional or an idiot! That is the reality that I face every time that I pick up the horn. A player that switches mouthpieces still only has one "embouchure". That is why the switch does not aid RANGE but does change the tone substantially.

For players that only play lead, a different set of variables apply.

Range is possible with MANY different approaches.
High compression: High notes are produced because the vibrating surface is of higher density, thus raising the resonant frequency! This can be accomplished by a powerful embouchure capable of "compacting" the lip tissue or by a combination of shallow mouthpiece with the corresponding breath support to compact the lip tissue by the back pressure in front of the lip and the high pressure air support behind it.
High tension: (stretching or applying extreme pressure to the lip to raise the resonant frequency. This can be compared to tightening the string on a violin. Not recommended for brass players because the stretched lip is more easily damaged!)

The mouthpiece can only AID the embouchure. It must complement the muscle structure and breathing habits.

Maynard is actually a very good example of a player that maintained his range regardless of which mouthpiece that he used. His range is possible on a 1C, a different combination for "compression" could be required however.

Morris, your posts show that you have been in the business a while. Mouthpiece theories throughout the centuries have been proven to be less reliable than weather reports. Why you feel the need to cite Bach or Schilke - what point does it prove? Absolutely none.
We have all shapes and sizes of horns and mouthpieces being successfully used by all types of players. There is no formula for success - the Bach and Schilke catalogues provide only "standard" solutions for "standard" players. The problem is, we are all very special!

Just lighten up a bit. You have a wealth of knowledge usefull to us all!

06-18-2007, 12:35 PM	#32 (permalink)
rowuk Moderator Fortissimo User Join Date: Jun 2006 Location: Germany Posts: 4,640	Re: How effective is a shallow cup in giving you a higher register? Morris, while your posts are interesting, all of those references leave out some very important things - the size of the lips when not playing has little to do with the size "compressed" or rolled in when playing. The strength of the embouchure or placement of the tongue are NOT dealt with. It makes no sense to rant about size and shape because there are too many exceptions to the rules. When I state that regardless of the mouthpiece that I regularly use, I have no additional range, that does not make me exceptional or an idiot! That is the reality that I face every time that I pick up the horn. A player that switches mouthpieces still only has one "embouchure". That is why the switch does not aid RANGE but does change the tone substantially. For players that only play lead, a different set of variables apply. Range is possible with MANY different approaches. High compression: High notes are produced because the vibrating surface is of higher density, thus raising the resonant frequency! This can be accomplished by a powerful embouchure capable of "compacting" the lip tissue or by a combination of shallow mouthpiece with the corresponding breath support to compact the lip tissue by the back pressure in front of the lip and the high pressure air support behind it. High tension: (stretching or applying extreme pressure to the lip to raise the resonant frequency. This can be compared to tightening the string on a violin. Not recommended for brass players because the stretched lip is more easily damaged!) The mouthpiece can only AID the embouchure. It must complement the muscle structure and breathing habits. Maynard is actually a very good example of a player that maintained his range regardless of which mouthpiece that he used. His range is possible on a 1C, a different combination for "compression" could be required however. Morris, your posts show that you have been in the business a while. Mouthpiece theories throughout the centuries have been proven to be less reliable than weather reports. Why you feel the need to cite Bach or Schilke - what point does it prove? Absolutely none. We have all shapes and sizes of horns and mouthpieces being successfully used by all types of players. There is no formula for success - the Bach and Schilke catalogues provide only "standard" solutions for "standard" players. The problem is, we are all very special! Just lighten up a bit. You have a wealth of knowledge usefull to us all! __________________ Whenever I feel blue, I start breathing again.