Changing mouthpiece at this stage is likely to confuse your lip further, and delay progress. Having said that, I switched to a more comfortable mouthpiece, and don't regret doing so. Hope this helps.
Bb Trumpets: Yamaha YTR-6335HSII - Flip Oakes "Wild Thing" - 1972 Getzen Eterna "Severinsen" - 1980 Boosey & Hawkes Sovereign Studio - B&S 3005 WTR-L - 1963 Besson 10-10 - Monke Mystery Horn - Spiri Vario
C Trumpet: Inderbinen Alpha 200
Bb Bass: 1961 Holton #58 "Symphony"
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Thank you, Gordon. Your advice, as well as the advice of the others, encourages me. I will take a video, and figure out how to post it.
No big changes for me, other than more time, that is.
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Just keep after it - continue to work the fundamentals and I bet those issues will go away.
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The double buzz often happens because the vertical connection between the upper and lower lip is too strong. Try letting the embouchure blow into place for the bad notes.
That aside, listen to the doctors. It is my understanding, however, is that high doses of Ibuprofen can damage the liver.
"A tool good enough to be so used and not too good"C.S. Lewis That Hideous Strength
Lucy.... I suspect that many of us can identify with your problem. My thinking is similar to Sethoflagos comments above -- one of the potential problems of all players is that sometimes one consciously or subconsciously changes his/her embouchure when going from lower register to higher register. This is particularly noticeable when playing fast passages from one register to the other because the embouchure cannot change fast enough to buzz "intermediate" pitches, anywhere from G to D in the staff. If you can play chromatically from C below the staff to G above slowly, without missing any pitches, but cannot do so when playing fast(er), this might be your problem. If it is, then you might try practicing chromatic scales (20X a day) from C (or lower) below the staff to G above (or higher), making a conscious effort to prevent your embouchure from changing during the run. Practice slowly at first, building up speed over time. If this is your problem (and it may not be) you should see improvement within a few weeks. Another suggestion would be to set your embouchure for G above the staff and learn to play lower with that embouchure setting, rather than the more typical method of setting your embouchure a G (in the staff) and learning to play higher. Good luck. JA
"The first 30 years you play a trumpet, you suck!" Chris Botti
And all these years I thought I was supposed to blow!!!
I'm at the billy Joel concert in Minneapolis. Just heard the great Carl Fisher. O my...
Just to pile on, I believe it is indeed due to the transition between your "high chops" and "low chops". Ideally, the same "set" is used for the entire range of the horn, from pedal C all the way up to Super C, right? Sure, no problem! The reality is that as a comeback player or even when we are in school and still developing in the first seven or eight years of playing, we don't practice the whole time, do we? NO, we play music, and once we play that first note, we have this commitment to play all of them to the end of the chart, and that's where we abandon our own standards for what is an acceptable method during practice, and just do what it takes to get the notes!
Also, the way we THINK about which notes are "high", "low" or "easy" (notice I didn't say "midrange", because that's not what our brain really thinks!) makes a difference in how we subconsciously create tension (or get lazy about releasing it) as we go for a note. There's a fine line between overthinking/overstressing it and playing lazy. We want a relaxed but FOCUSED aperture. The double-buzz means two apertures are happening at the same time...
There are a number of things I've done to combat this when it happens to me. Clarke studies are good, but I have to insist on playing them softly and perfectly! Schlossberg drills are excellent. Bob Odneal's "Casual Double C" method, the way he describes how he starts off with a mid-staff G, very softly, like pulling a thread from between the lips is a great concept. You can also do these drills on just the mouthpiece to help you figure out what all you're really feeling and doing, and it helps take away the "high"/"low"/"easy" pre-set that is likely a contributing factor.
Some say you can't just look at somebody else's embouchure, but I watch the very deliberate way that Wayne Bergeron sets his, immediately before and during his playing. This is one of the top guys who gets paid because he doesn't miss, and what he does external to the mouthpiece is quite pronounced. At the same time, he will say that whatever else happens, the only way a note is going to come out is because of what is happening inside the mouthpiece, so again, I focus on "aperture" more than "embouchure". I don't agonize over it, and don't even very often feel in control of it. What matters is that thinking this way helps refocus the micro-muscle actions that I don't know I'm doing.
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Buescher True-Tone LP 9 (1926)
Getzen Eterna (1985) 4-valve flugel
Bestler valve trombone
Getzen Field Trumpet
Getzen Titleist soprano bugle (1979)
too many other bugles in the collection to list
Be patient. Even the great Miles Davis said it took 18 months to get his sound back after a layoff of only a couple of years.
Incidentally, does the problem still happen when you play these notes with alternative fingerings?
I'm not suggesting you use these fingerings for regular playing, it's just that the back pressure and feel are a little different.
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