_TrumpeT_

Having read some of your previous posts, you seem to be against consciously using different syllables for different registers of the trumpet. However, my teacher advocates TOO for low TAA for middle and TEE for upper register. Previously to this, I only used taa or daa for everything and learning to use different syllables just opened up the upper register (and technique) for me. Naturally, I'm confused. Is there such thing as an exception?

trumpetnick

The standard use of different syllables (according to T. Dokschitzer) is taa for the low register, too for the middle and tee for the high register. However thay may be some exceptions. The reason for using different syllables is to enable the player to poition diferently the tongue inside the moth when playing. Some times intonation problems may be solved by using different syllables tha the usual for the correspondant register. Their use may depend as well on the length of the tongue and the constitution of the mouth. Other syllables used bu trumpter are po (soft articulation) and ka, ku, ki (double tnoguing) and ra (this was used in the barock time, and it may be still in use by nat trumpeters - I am not expert in this area, so I wont comment). There may be other type articulation used by jazz trumpeters. I hope this will help.

Nick

Manny Laureano

Trumpet,

You have to go with what's successful for your situation. Your sound concept and application is likely not what I need for what I do for a living. I try to work at a very intuitive, subconcsious level and my approach to the trumpet is very reflective of that. If you're successful doing what you do, why go and change it based on what some guy on an internet website has to say about it?

People want to know what I do and how I approach the horn. Fine for them if they're that curious. But it's still what I do and all I can do is share that information but I don't necessarily advocate it as the one true way for all mankind.

ML

trumpetnick

Manny,

Is it not a question of time and practice till those things become subconcsious? Trumpet sound like an amateur, I mean not professional trumpeter. I was always thinking of such thinks like usingd syllables, tonguings, breathing as something we need first to learn on conscous level, than with the time make it part of our dayly routines till it becomes almost mechanical?
Nick

Manny Laureano

It depends what you're practicing, in my opinion. There are certain things that you practice that are best thought of on an intuitive or, at best, childlike level. In other owrds, rather than invoke the thoguht of the process, we invoke the thought of the result. All things being equal, the process will take care of itself. I never "studied" syllables, I studied sound. I listened to Mendez. Some people don't connect the ear soon enough and they become process-oriented and break things down to very small steps. Saying TOO, for example, instead of trying to make the tongue go in a certain place.

So, I believe musicians need to practice music. Sometimes we have to break it down a little when we're working on a problem. I believe you practice vibrato by listening and imitating and being patient enough to let it come over time. That's just another example.

ML

_TrumpeT_

Thank you Manny. Since now I can make sounds in the upper register, I'll try to see if I can make my tone better by always emulating great players. One strange thing I noticed today was NOW I could use any syllables I had in mind to play those notes. It is also strange that my teacher only told me to use syllables only two months ago while this is his 5th year teaching me. May be he makes changes subconsciously and expected me to do the same. I don't know. Anyway, he did make my upper register more accessible and now I can really get a more euphonious sound by listening more.