Playing in the Red

Bugler90 · 04-05-2005, 04:53 PM

Well I will like to know more about playing on the "red" of the Lip. I play where the mark of my mouthpiece is on the red of the upper lip. Is this ok, good, bad. Some people say is good others is bad. Any suggestion or advice is welcome.
Luis

dbacon · 04-05-2005, 06:30 PM

This is about the only thing I ever change for a student, playing in the red or "roll." I'll have them move the inner rim up onto the firmer stuff above the line, it can take the contact better. Work with the best teacher you can find.

Manny Laureano · 04-05-2005, 06:32 PM

Luis,

I have to believe that embouchures are made up of a variety of components and that isolating one aspect of an embouchure won't give you all the information. That is, a person who doesn't have a fleshy lip will have different results playing on the red than a person who does have a meatier lip.

My second player in Seattle played in the red and had a beautiful sound. He didn't have a super high range but was able to do the job. When we played Mahler 2nd he never missed the high C because he was smart: he used the D trumpet for that passage. I've heard people play in the red that sounded terrible and never got anywhere.

Gerry Scwharz also played much lower down on the top lip than any successful trumpeter I've ever seen. I believe that the length of the teeth and relative straightness of same are yet another component. That's why there are exceptions to the rules we establish, I guess.

Jerome Ashby, who plays with the associate horn with the Philharmonic, has very full lips but when he plays they all but disappear because of the way he's rolled them in since I knew him in junior high school.

ML

Bugler90 · 04-05-2005, 11:15 PM

Manny:
Thank you for your feedback. I have fleshy lips and I think by what you said is one in my favor. My endurance is ok, on the regular range(from low C to at list high B), I don't have a supper range (from B to at least a D) and is hard for me sometimes to articulated with a ligth tong specially fast passeges, my flexibility is good but what I concider to be my problem is my sound. I am not sure is that because of my lips, tong, or lack of good air support.
Thank You
Take care
Luis

04-05-2005, 04:53 PM	#1 (permalink)
Bugler90 New Friend Join Date: Feb 2005 Posts: 5	Playing in the Red Well I will like to know more about playing on the "red" of the Lip. I play where the mark of my mouthpiece is on the red of the upper lip. Is this ok, good, bad. Some people say is good others is bad. Any suggestion or advice is welcome. Luis
Bugler90 New Friend Join Date: Feb 2005 Posts: 5

04-05-2005, 06:30 PM	#2 (permalink)
dbacon Mezzo Piano User Join Date: Oct 2003 Location: Scottsdale, AZ. Posts: 579	This is about the only thing I ever change for a student, playing in the red or "roll." I'll have them move the inner rim up onto the firmer stuff above the line, it can take the contact better. Work with the best teacher you can find.
	__________________ Dave Bacon

04-05-2005, 11:15 PM	#4 (permalink)
Bugler90 New Friend Join Date: Feb 2005 Posts: 5	Manny: Thank you for your feedback. I have fleshy lips and I think by what you said is one in my favor. My endurance is ok, on the regular range(from low C to at list high B), I don't have a supper range (from B to at least a D) and is hard for me sometimes to articulated with a ligth tong specially fast passeges, my flexibility is good but what I concider to be my problem is my sound. I am not sure is that because of my lips, tong, or lack of good air support. Thank You Take care Luis
Bugler90 New Friend Join Date: Feb 2005 Posts: 5

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04-05-2005, 06:32 PM	#3 (permalink)
Manny Laureano Utimate User Join Date: Sep 2004 Location: USA Posts: 5,989	Luis, I have to believe that embouchures are made up of a variety of components and that isolating one aspect of an embouchure won't give you all the information. That is, a person who doesn't have a fleshy lip will have different results playing on the red than a person who does have a meatier lip. My second player in Seattle played in the red and had a beautiful sound. He didn't have a super high range but was able to do the job. When we played Mahler 2nd he never missed the high C because he was smart: he used the D trumpet for that passage. I've heard people play in the red that sounded terrible and never got anywhere. Gerry Scwharz also played much lower down on the top lip than any successful trumpeter I've ever seen. I believe that the length of the teeth and relative straightness of same are yet another component. That's why there are exceptions to the rules we establish, I guess. Jerome Ashby, who plays with the associate horn with the Philharmonic, has very full lips but when he plays they all but disappear because of the way he's rolled them in since I knew him in junior high school. ML

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