Well yes actually.

For many years I've doubled on trombone. And a long while back I found that through dry lips squeaks on a forward jaw embouchure setting (on trombone) one could soar well above the trumpet players Double C. Even slightly above Triple C.

In fact i started putting trumpet shanks on t-bone mouthpieces almost a decade ago just see the reaction. And so long as I made the cup fairly shallow for a trombone it would produce a musical tone.Just not a heck of a lot of volume. Maybe at best a forte on a Double C and above. Not a truly big sound. And since I'm good to high G on my regular chops? Well I didn't really expect the trombone chops set on trumpet shank to be reliable.

Then just today i accidentally pushed my tongue way forward. So that it contacted the sides of my upper lip and stayed sight against the lower lip.


Was almost too loud for my Harmon mute. It sounded solid and fat at least as my regular chop setting on a trumpet mouthpiece. Will have to play on it unmuted tomorrow. is too late to play w/out the mute now.

I had tried this forward tongue assist on other embouchures and found only weak, mixed results. It never seemed to help my regular most natural setting. But on a trombone mouthpiece w/ a forward jaw setting? Holy crap... It damn near burst my eardrum while still in the mute!

These things seem to happen more often on a Sunday. My original mentor on the Stevens-Costello setting discovered his "endless register" on a Sunday himself about forty years ago. Over at "Old Chapel" on the Univ. of Massachusetts. He relaxed his chops more and out blew these solid Double C's.

Tell ya what: This thing is freaking incredible. For a guy like me who's found the loud loud Double C's with endurance elusive? Well the rewards seems seriously huge.

More later...