Dennis

Hi,
I'm a high school senior and ive been playing lead in a jazz band for two years now. I currently use a schilke 15a4a but have used the standard 3c as well as my 16c4 (which came with my yamaha xeno). Ive been very happy with my schilke mouthpiece because it gives me a bright, lead player sound because of the shallow cup. Lately i have been very dissapointed with my playing because our group has begun playing some beefy legitimate jazz stuff (i.e. maynard ferguson, arturo sandoval, dizz gillespie originals) and my range peaks out around an f or g above high c.

I recently attended a workshop class at a school event (Maryland Trumpet Day) taught by Scott Nelson who published a book on the mechanics of breathing while playing trumpet. "Breathing for Musicians"
He spoke of his doctoral discertation which studied the way in which trumpet players breathe. He found that professional players use up 14 X's more air than high school and college amateurs. He also discussed anatomy and physiology. A process known as the Valsalva Maneuver which causes great internal pressure and the closing of the throat. (this maneuver is used in bracing for a blow to the stomach or ... releasing waste from the body...)
If you havent fallen asleep yet, i guess my overall question is how can i overcome this problem to improve my range and increase the airflow in the upper register. I have looked into a very expensive solution -TurboBore Mouthpieces by ExBrass in germany -- http://www.newyorktrumpetcompany.com/adacimp.htm. these mouthpieces claim to increase the power of your air and i have heard of users who have greatly improved their range with the switch. Obviously i dont think this is necessary for me to improve as a player but is it worth considering.
any advice from someone who is familiar with my struggle or the equipment mentioned would be GREATLY appreciated.
thanks alot!
Dennis

djm6701

If you are having problems with your throat closing, go to http://www.windsongpress.com/jacobs/jacobs.htm and read some of the articles, or order one of the Jacobs books. Better yet try to find a private teacher in your area who is from the Jacobs "school" or the Bill Adam "school". The reason I suggest these approaches is that the more you focus on not closing your throat the worse it will get (been there, done that). Getting rid of that that problem requires a different mental approach rather than getting into the physiology of what you are doing wrong. I'd not bother with the mouthpiece change - the problem is happening before the air reaches the mouthpiece so spending $$$ on a new piece when you like what you've already got isn't going to do anything for you.

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Dave M.
Richmond Hill (Toronto), Ontario, CANADA

Kanstul WB1600
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GR 65.6 Mouthpieces

Dennis

thanks for the input, i actually signed up for some private lessons last week with a pretty solid player so hopefully i'll be able to start figuring it all out again.

rowuk

Forget any turbo mouthpiece as an answer to a body problem. Mouthpieces are on the "receiving" end of the air stream. Power comes from air volume and support. Your teacher should be able to help you with that!

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Whenever I feel blue, I start breathing again.

trpt2345

In a jazz and lead playing context Bobby Shew is a pretty knowledgeable guy about breathing and so on. He often does clinics and master classes so if you see him in your area be sure to check him out. He usually does the Abersold camp which is now limited to Louisville in the summer now. I learned SO much from him.

And if you're in high school, fer cry eye, don't worry about being able to play Maynard or Arturo charts. They're not for you at this point. Be a solid high school lead player, and don't try to be a fifty year old seasoned pro. Concentrate on doing swinging stuff (basie, herman, goodman, ellington) without the pyrotechnics that are beyond your range right now. One of my biggest freaking pet peeves in jazz education is band directors who try to force kids to do material that is way over their heads because the teachers think it's "cool" or something. Much better to dig into the huge repetoire of really good intense swinging material that is out there (or better yet transcribe or write it yourself) than try to mimic wildly inappropriate rep that isn't that central to jazz anyway like Maynard or Kenton. I'd much rather hear a high school band play the hell out of One O'Clock Jump or Woodchopper's Ball or Perdido or something than try to hack through a Maynard chart they can't really get because it's too hard. Now you got me up on my soapbox.

Michael McLaughlin

Always aim for the core of the sound - the center - where airspeed, lip tension and wavelength are match perfectly, to achieve maximum resonance.

Barbara Butler

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Chicago MM

cornetguy

As above. also what is it vizziutti said about 98% of all trumpet playing is below high c. There is so much stuff out there for jazz band that doesn't go very high, but gets the basics across and is still pleasent to listen too. It does mean work and time spent at the music store.

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Per aspera ad astra

Vulgano Brother

C'mon guys, who among us would have took the advice to "leave the high notes alone and practice cornet solos" everyone was spouting from the last century when we heard our first Maynard album and wanted to do that ourselves? Bobby Shew played high notes in high school, and remember this young teenage guy named Faddis playing lead for Thad Jones/Mel Lewis?

Dennis,

The Valsalva Maneuver does close the throat. I mean really closed, as in shut up tight, and when that happens no air comes out. No air, no sound. Trumpet playing has almost nothing to do with getting hit in the stomach or taking a dump. It does have to do with moving lots of air quickly, and having the ability to control an embouchure getting hit in the backside by a bunch of fast moving air. This takes time to learn to do. Consider doing lots of long tones ala Bill Chase and Cat Anderson. Long as in 20 minutes long, pppp. Start with g in the staff and work up chromatically. It takes time, and might take more time than you have before the concert. Talk to your director about your concern about playing correctly, and not wrecking yourself like a little league pitcher. Pursue your dreams and that sound you hear in your head as far as your heart will let you go, and beware of little tricks that give short term gratification in the practice room and leave you with egg on your face in concert.

Have fun!

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www.letsbuildhope.org

reversedlead

A mouthpiece will not fix your breathing problem.

I am an Adam student, something djm6701 mentioned, studying under John Harbaugh. A few weeks ago we had another Adam student here at my school. He described resistance in the instrument should be no greater then when you put your lips around the mouthpiece and blow. That is the maximum resistance that the instrument can provide. Your job is to take a BIG breath, like your mouth is under your belly button. Feel your guts press down by your lungs expanding. BUT... this action should be tensionless. When you breath in, feel like you are yawning. Your throat should feel like you are making steam on a window, but instead you are breathing in. This should help your breathing immensely.

Remember, Trumpet Playing is 90% Mental, 9% Air, and 1% Everything Else. Keep your mind on the sound, not the mouthpiece or the horn, those are static things. They cannot change. Keeping your head on the sound improve the mental part of your playing.

Good Luck, and TAKE A DEEP BREATH!
Brandon

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Central Washington University
Student of John Harbaugh

Bach 37-25LR
Getzen 3071C (soon to be Bach 229/25H)
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