Aarix -- of course you will find detractors to my advice -- but I challenge you to "think" and do long tones -- for instance, a second line in the staff G on the trumpet -- play that at ppp and for 20 minutes (breathing as necessary) -- do that every other day (might take a week or 2 to work up to that) -- and then re-evaluate yourself on the trumpet for sound in a month (((record yourself at the beginning of the month -- then a month later))) - I can almost hear your improvement already . ie. you can also refer to Cat Anderson method, as this is an element of that.
1991 King Silver Flair
1953 Olds Super (LA)
1979 King KG1055T (pre UMI) Silver Flair
1940? Olds Ambassador (LA) tenor trombone
I'm not responsible for offending people -- people are responsible for themselves taking offense at me
I know people with exactly the same problem, and it seems the solution is to play pedal notes and learn to make them sound good. I tried it for myself and it has made my sound so much better. Just practice articulating and playing low notes. Another thing, what mouthpiece/trumpet are you using. If the mouthpiece is very small (small diameter rim and small volume cup) that could affect your sound.
7 Monettes, 8 Harrelsons, 6 Stomvis, 7 Schilkes, 5 Taylors, 5 Bachs, 4 Yamahas, 3 Scherzers and 5 others.
I'd second everyones recommendation to play pieces - but I'd also recommend rather than just playing full performance pieces, play a lot of (relatively) short etudes. We sometimes lose focus and get caught up how to make ONE piece sound musical rather than a variety.
I would also suggest LISTENING to a lot of music, preferably trumpet.
Bb: Courtois 305 "Elite", Holton Al Hirt Special (~1966), Benge 3x with Upturned bell (1973)
C: Bach C180-239 (Akwright conversion),
Cornet: Conn Wonder (1900)
Picc: Selmer Paris, ~1971
When the results were posted, the band director's son got a score of Excellent; my score was Superior. In his notes, the judge loved my performance, especially the passion I put into it.
Lesson learned: Technical perfection keeps the audience from saying "Ouch!"; passion keeps them awake.
That is to say, your mental picture of what the trumpet should sound like to you behind the bell, while you're playing it. The feedback you get from behind the bell while playing is very different from the sound that the audience hears from 50 feet away (in most acoustic environments anyways...In a big echo-y concert hall you can get a pretty good idea of what you really sound like).
I went through a pretty dramatic embouchure change. I basically started from square one again, sounding like someone who had just picked up a trumpet for the first time and being barely able to play a C in the staff. Within about a year I was sounding pretty much like me again. How did this happen? Why doesn't everyone who has been playing for 1 year sound as good as me? It's because I had a very clear concept of what it should sound like when I played. Consciously or sub-consciously, your body makes tiny adjustments every time you play to try to bring you closer to that sound picture you have in your head. If the sound you have in your head is not good, your playing won't sound good either.
Listening to recordings or seeing live music is all well and good, but it's really hard to replace the experience of sitting next to someone with a sound you want to emulate.
And yeah, more soft playing.
Don't try to sound like someone else. I have four trumpets, each of which has a unique tone; however, it doesn't matter which one I play, I still sound like me. Just a little different flavor of me. As much as I would like to sound like Mendez, or Marsalis, or Phil Driscoll, it doesn't matter which horn I play, I'm still gonna sound like me. So I work on my own tone, knowing I'm stuck with it. At least I'll know that however I sound, I'm working toward being the best sounding me I can be. You'll never get anywhere in this world trying to be someone else.
1952 Holton Revelation 48 w/ Stork Studio Master VM, Wick 4
1975 Bach Stradivarius 182 "flugelhorn", Bach 7fl
1930 Holton Llewellyn, Heim 1
1990 Bach Stradivarius 180 with 37 bell, 7 leadpipe, Wick 4
Early 1900s Jaubert Eb peckhorn, cheap Lyle mp
Early '60s Getzen Super Deluxe Tone Balanced Copra Temp
Olds Ambassador cornet in pieces.
You are getting good responces, but, are you hearing? Give us some feedback. My collegues are genuine and we desire to help.
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