skuni

I just recieved a copy of Bai Lin's Lip Flexibilities. Do you have any suggestions for how to progress through the book?

Thanks!

ecarroll

Skuni,

Sorry for the above. My posts kept going up in mid thought...

I like the Bai-Lin and use them often with my students. I consider them to be air management exercises, however, and not "lip slurs" or "lip flexibilities" (both misnomers, in my opinion).

Healthy trumpet technique might be defined as a clearly stated balance between focus and flow. Play each Bai-Lin exercise slowly and concentrate on equal parts glissando and crescendo between the intervals. If the top interval sounds congested there is tension somewhere along the line. Evaluate your inhale and posture. Don't let the back of your tongue rise too much and inhibit your blow. Keep repeating this until you find optimum balance (this could take seconds to days, depending on where you are in the process). Once this balance is achieved play the exercise faster and give it 2722 repetitions.

Watch somebody like Al Vizzutti leap across octaves/double octaves. It seems effortless because it really is. . . once you've discovered the balance between focus and flow.

That's the best I can do without actually hearing you play. Good luck!

Best,
EC

skuni

Thank you so much for the advice. I feel that slurring on the harmonic series with ease is the biggest downfall of my playing. Any suggestions for improving this skill?

ecarroll

Yes. Patient and diligent practice. There are no "magic bullets". There's only hard work.

EC

trumpetnick

Where the hell did you take this number from, Ed? My teacher used to tell that when I managed to repeat succesfully (10 out of 10) 10 times something it meant that I have mastered it....your number is well beyond that...If I manage to repeat whatever exercise that much in the same session I will probably be something like Maynard Ferguson or Wynton Marsalis

__________________
Spada Bach B flat 72, leadpipe 2L/DWMM1.5C
Spada Bach C 256, leadpipe 2LQ/DWMM1.5C
1956 Olds Ambassador Cornet
Spada Custom Piccolo

If you don't know where you are going, you 'll end up someplace else

ecarroll

Careful application of science, Nick

2722 is the "magic" number. . . or was it 2733?

Cheers,
EC

trumpetnick

I hope that you are not referring to the golden section of Fibonacci as the number is ~0.618.... Fibonacci Numbers, the Golden section and the Golden String if not, what is the magic number that you are talking about?

__________________
Spada Bach B flat 72, leadpipe 2L/DWMM1.5C
Spada Bach C 256, leadpipe 2LQ/DWMM1.5C
1956 Olds Ambassador Cornet
Spada Custom Piccolo

If you don't know where you are going, you 'll end up someplace else

Vulgano Brother

How 'bout a bit of Vulgano voodoo, with "magic bubbles?"

When we play a note, standing waves are produced in the instrument, and with a normal to lightweight instrument and a light touch, you can feel where different notes seem to resonate in the instrument -- magic bubbles of sound. The higher we go, the more of these standing waves (or magic bubbles) appear. When playing, with a bit of sensitivity and imagination, we can "feel" where these nodes/antinodes (magic bubbles) are. To go from a lower to a higher note in the harmonic series, try pushing the magic bubble down the leadpipe/bell with your air.

There is a marvelous feedback mechanism at work: the buzzing lips cause the air column to vibrate, which in turn reinforces the buzzing of the lips. This is why using terms like "lip slurs" and "lip flexibility" can mislead us into thinking that it is entirely a lip exercise, rather than an air management exercise.

Hope this provides more fun than confusion!

__________________
www.letsbuildhope.org

ecarroll

Brother Low Notes,

"They fly so high, they nearly reach the sky. Then, like a dream, they fade and die"

Fun idea. Thank you.

Pax,
EC

ecarroll

Skuni,

I was perusing some old threads to see if any were worth ressurecting and found this:

http://www.trumpetmaster.com/vb/f146...ies-25105.html (Flexibilities)

Best,
EC