When I was in my Master's degree program 18 years ago, I was playing 8 - 10 hours daily. The ring (from the inner cup of the mouthpiece) on my upper lip was visible from a mile away even if I had not touched the horn for a day or so. I am not a pressure player.
In a planned career change, I decided to go to law school. Although I still played here and there, the ring faded almost away after a little while.
Now, I have time to play regularly again. The ring pops right up after an hour of playing, but fades away and is not so readily visible.
So, in my experience, it is a matter of Wynton playing full-time and his skin not having time to recover in between sessions - similarly to how skin tans. In short, its a skin issue, not a lip muscle issue. It could have something to do with how sharp the inner rim of the mouthpiece is, too. I dont know what Wynton plays, but I would imagine it has a sharper rim, thus "stamping" of the rim into his skin.
Al's playing and approach is so different than Wyntons, from mouthpiece to breathing to style, I see little possibility for a quick tip from that camp.
As far as less mature players picking much up from a YouTube video, the original post did make me smile - and ask if the poster plays for hours in front of a mirror to improve their own playing by observation?
Whenever I feel blue, I start breathing again.
I am far away for the thought that Al would judge Wynton and vice versa. My thought was more in the line that we are not entitled to do so, unless we can do what they can do and know how it is achieved. Delicate is a key word. Marice Andre said once about the Wynton that he was probably the best trumpet player among the living on the world. I wouldn't be surprised if Wynton said a similar thing about Maurice.
Excuses are for the weak and the lazy. That was my whole point.
Watch Wynton use brute force!
[ame=http://www.youtube.com/watch?v=TJVGkSzO-nQ]‪Wynton Marsalis Warming Up‬‏ - YouTube[/ame]
Be sure Brain is engaged before putting Mouthpiece in gear.
two Olds Recordings -- 1 sold!
Yamaha C trumpet YTR - 745
Besson Eb/D trumpet
Bach G trumpet - 2
Bach Herald Trumpet
Olds Ambassador - circa 1959 - Fullerton -- sold!!
H.B.Jay Co. Columbia model trumpet 1910 gold plated
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I think we all have accepted the fact that professional players do not always do the "right" things. Wynton is pretty much sound in terms of technique, but Rafael Mendez used a lot of pressure into his professional career and only stopped after he realized how bad it was and how much it was hurting him. I already mentioned the Louis Armstrong story. The success of professionals has more to do with will power and dedication than anything.
Yes, I concur that many have the same natural indention in the lip as Wynton and never have played any instrument, still I believe as he played his rendition of Cherokee that he had more of a two thirds mpc on the lower lip just as I was originally taught, not saying I now always play that way with mpcs for trumpet or any of my other different brass instruments. Still some schools are adamant about teaching two thirds mpc on the upper lip and I disagree with that teaching method, relying more on the concept of whatever works for the individual whereas I don't believe any player executes their embouchure the same all the time.
Hi, all. I'm a trombonist and wandered across this interesting discussion. I've heard of other brass instrumentalists (not just trumpet players) who get a "groove" in their lip over the years from playing. If you're concerned about it, I'd consult with a medical professional about it (musicians probably aren't your best resource for health advice). The players I know with a prominent groove don't have any complaints about it, in fact some may find it useful to get their mouthpiece in the "sweet spot."
As far as mouthpiece pressure goes, I think it would be fair to take all of the comments here with a large grain of salt. Here's a very interesting article on this.
Here's a quote from it:
Mouthpiece pressure is definitely something that is valuable to consider, but I think we should be aware when our playing sensations may not accurately reflect reality and adjust our thinking and advice accordingly.From these experiments, we can make several guarded statements. First, it is simply not true that professional players of the highest calibre use low levels of force on the mouthpiece. We could not differentiate amateur players from professionals in terms of the amount of force they used to perform a given task. Secondly, skilled players were no better than other groups at ranking photographs of players for the amount of force the subjects were using on the mouthpiece. The experts appeared to base their judgments of force on the general appearance of effort rather than on any specific cues. When asked to judge between different players, experts could not reliably tell who used the most force and who used the least.
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