kanstulmeha440

do you think tongue postitions or general movements used while whistling would be like those used while playing your horn?

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Kanstul/Besson Meha, serial 440
Kanstul MB4 (1 1/2 B) mpc
Kanstul MB4L Prana
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King student model
7, 5, mega5, 3, mega 3, C

yesenia

I don't know about muscle movements and positions etc, but I know the approach is similar. (I apologize if this is not the answer you are looking for, but) I really believe that whistling is helpful for us - it is one of the only devices through which we can experience ease with the same tools - song and wind - that we would use to play the trumpet. With both, the air needs to be loose and without force in order to maintain a great sound. The difference is that if you don't get the right sound when you whistle, you won't get one at all, but you can still get 'the right notes' on the trumpet, and if that is all someone is listening for they will never make music.

PH

Wow! Lady, you are really getting this thing figured out!

What she said....

Bernie Leadbeater

This is something I've been pondering lately as well. When ascending on the trumpet my jaw and lower lip tend to move in slightly and tongue to arch, though for me at least, this seems to be a consequence of other things happening rather than a driving force. This is very similar to whistling, although the pucker when whistling is more pronounced (for me). One thing I noticed when when whistling the other day was that I also change the direction of the airstream quite a lot. This is nowhere near as pronounced on the trumpet. I've been experimenting while buzzing the mouthpiece but I haven't reached any conclusions yet.

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Bernie

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Schwab

I agree with Yesenia, that is a textbook answer. If you are looking for a more mechanicial approach, I think the tongue arch is more similar to singing than whistling, but the thought approach should always have music behind it first and formost, that will make everything easier.

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Dylan Schwab
Stage 1 New York

pops

I put a webpage up (a year or so ago) showing how this works.

http://www.bbtrumpet.com/arch.html

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Pops

It is the Smart application of hard work that gets you there.

BflatAnklan

I do believe that it is relative to trumpet playing. The term "Lip Flexibility" is a misnomer. It's the tongue level which needs to be flexible. Focus on keeping the embouchure firm and steady. Speed up the air and raise the back of the tongue to ascend, and vice-versa.

Try not to think to hard about your tongue position when you are playing. It will cloud your mind with thoughts that are un-musicial. When you are not thinking about your sound, you leave yourself open to make mistakes. The most important element in tone production is a concept of sound. This simply means that in order to get a good sound, you must have that sound in your "mind's ear" before you pick up the horn.

The reason I'm mentioning this is because it relates to tongue levels too. The position of your tongue is one factor of many that determines the note and sound you will create. However, hearing the desired result vividly in your imagination will activate whatever physical activity it takes to make that sound. This will get better and better with repetition. By teaching your body good habbits through repetition, playing with a good sound will become second nature.

Hope this helps!

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Matthew Anklan

www.myspace.com/matthewanklan