Trumpet Discussion Discuss Use The Lower Jaw To Take Pressure Off The Upper Lip! in the General forums; It seems to me that a lot of players play with way too much upper lip pressure, and could use ...
Mezzo Piano User
Use The Lower Jaw To Take Pressure Off The Upper Lip!
It seems to me that a lot of players play with way too much upper lip pressure, and could use the lower jaw to take some of that pressure off. I like to anchor on the lower lip/jaw (I think of this as one unit, ala Reinhardt) and have 60% of the pressure on the lower lip and 40% upper lip. I like to set the lower lip/jaw anchor first. During my set up/warm up phase I'm aware of the mouthpiece against the lower lip but don't really think about it much after that, unless I'm tired. By rocking the mouthpiece off the upper lip and a bit more onto the lower jaw/lip I can get a little more endurance. I also think of a triangle from the corners to the lower jaw, and I notice some firmness there.
But in the heat of battle, I just take a breath and play!
However you do it, don't dig into the upper lip. It does most of the vibrating!!
Doesn't the upper lip do *all* of the vibrating?
Here we go...
I have to disagree with you on this one. I think your set-up determines which lip does most of the vibrating. It's different for everyone.
play the note of your choice & use a finger to mash all around your lower lip. (for me, nothing happens. the note still speaks). however, when you do the same thing to the upper lip, the tone stops. (again, for me).
Mezzo Piano User
Exactly. Lip buzz a pitch, touch the lower lip (without touching the upper lip) and you still buzz. Touch the upper lip and it stops.
Originally Posted by davidjohnson
The upper lip does most of the vibrating, I think the lower lip has sympathetic vibrations with the upper lip, but most of the vibration is upper lip.
Get some contact off the upper lip and onto the lower jaw/lip and gain some ease in playing. Dig into the upper lip and reduce your endurance and make flexibility harder.
It's all based on positive air flow and a great concept of sound in your imagination, then listen to what's coming from the bell. You can then make this adjustment over time, and it becomes a conditioned part of your playing!
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