trumpethack

Manny,
I've noticed in a few recent posts you advising the use of practicing lip trills regularly. Are these a tool you like to use to build range? Also what is your approach to teaching lip trills, ie. do you approach them as "tongue" level exercises like Chris Gekker talks about? Thanks.

-Matt

Manny Laureano

Matt,

I use them for flexiblity purposes, number one. A secondary benefit is enhanced endurance when there isn't a lot of external movement. Another collateral benenfit is greater control over the high register as this technique defines each slurred note when done properly. No, I don't focus on the use of the tongue when working or teaching these.

Listen to the Minuet in G by Mozart as performed by Mendez for a wonderful example of what I mean.

ML

trumpet blower88

I know Manny's advice is alot more reliable than mine. But I just wanted to throw in what I've learned from lip trills now that Manny has spoken for himself first.
The last few months I've been working on lip trills and I've actualy noticed my range drasticaly improve. I've gained about 5 whole steps to my range in the last 4 months or so. Practicing lip trills made me realize just how much air I needed to use, and just how relaxed I have to stay as play into the upper register. Practicing these lip trills exagerate what I need to do to play up there normaly because theres no way you can pull off a lip trill without useing lots of air and staying relaxed.

I hope that made sence. But thats just my $.02

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Brekelefuw

Where do you start practicing the trills? Where the harmonics are a tone apart up at the G above the staff? or do you start lower where the harmonics are a minor third or 4th apart?

NickD

Try Arban around page 42 and 43.

Also:

Walter Smith Lip Flexibilities
Charles Colin Lip Flexibilities
Earl Irons Book

That's a start, at least.

Peace.

Nick

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Manny Laureano

That would be my answer as well but i think he meant what part of the tessitura, Nick!

Believe it or don't, the most difficult trills to achieve the snap we need for clarity are the lowest ones! Try a trill from low F# to C# if you don't believe me. The point is to make those trills happen without undue movement yet creating maximum sound at the same time.

When I teach this technique to classical players, the sound I work on them with is clean and snappy. Jazz players have different demands and don't necessarily need a shake that sounds like a coloratura soprano trilling. A jazz shake and a classical lip trill are two different styles of playing but both techniques are important to know how to do and are good for your playing when executed properly.

ML

trpt2345

Wow, all this talk has me getting the Colin book out. "Expanding intervals to D".
This is one area I find I have work on a lot with students, many even with a fairly decent technique have little flexibility.

Michael McLaughlin

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Tpt_Guy

Hi Manny,

I've been trying to figure out how to play lip trills with minimal external movement, but how do you do it if you're not using tongue arch? Or is it simply that you just don't focus on it and let it happen "naturally"?

What is it that you do focus on to achieve greater control of lip trills? I know air is vital, but is there anything else?

Thanks,

-Tom

Manny Laureano

That's exactly it.

ML