Відео

Meh. I often do mouthpiece buzzing at the beginning of my warmup, and I started playing professionally in 1977.

Unbelievable wisdom here ! So valuable ! Thanks !

Ho myyyy, this is gold !!! 👍👍👍👌

18:33 zone 2 horn playing! Love it! Or maybe over unders! Haha

"You'll practice less if you'll just listen more" might be one of the most significant lessons any player can ever learn. Too many players mistake compulsive, mindless facetime for dedication or work ethic and are in fact just reinforcing their problems in the process. Great video, Christan! Always love listening to you and Ian talk. Thanks for taking the time!

5:48 - Interesting! More open (sound), go to smaller venturi/mp throat = more relaxed embouchure/feel more open on face! Keep teaching us things! Excellent talk!

David Taylor is a Brass God. Unbelievable musician & and a serious/deep thinker. In the late 90's I drove Connie Weldon to St. Louis for International Womens Brass Conference. The second day we were there Dave decided to give a solo/unaccompanied recital while people were going to lunch, and I sat there (in front of him) and took in every note...I got a 50 minute lesson/masterclass without any interrupted issues. We started chatting as he was packing up, he found out I was a tuba player & a student of Sam Pilafian (who was a close friend former gig buddy from New York) and he maid a point of spending time with me. When Dave found out I was there with Connie Weldon (Sam's teacher) he wanted to spend time with her, and was so kind, respectful, and took the position of a student with her. Great guy & teacher 👍

Miles was never one of my favorite trumpet players, but he is one of my favorite musicians. Miles changed the landscape of popular music, and nobody can get all the amazing colors & shades he could out of a trumpet. Thanks so much for sharing 👍

Doesn't get cooler than that. Like you guys are holding Thors Hammer 😅

Good observation, well explained. Cichowicz used to call being overactive as “the player VS the horn” with respect to approach and efficiency. These ideas and concepts…simple while perpetuating new ways of processing as we play. Nice job, Christan.

Fax

I'm currently playing on a Denis Wick Heritage 2AL Mouthpiece. I play big band swing jazz. I double between Large Bore Tenor Trombone and Bass Trombone. Which do you recommend. I love the flat rim on the Denis Wick.

I've experienced this with my Yamaha 830 (apparently others have as well from the comments) when using my Griego GP6. I first used the GP6 with a Bach 50 and really enjoyed the sound I got out of it. I still love the sound I get most of the time, but there are a few notes that don't want to slot or center correctly on the Yamaha. I was talking to my local tech about this and he suggested I take either paper or aluminum foil and wrap it around the shank and see how many sheets it takes to see improvement. I tried this and wrapping one sheet of paper made a bit of difference, so I tried a second. It was almost like I was playing a different instrument. The thing I don't know is what to do with this information. I've been using the Yamaha 59 mouthpiece that came with it and have tried the Yamaha Doug Yeo replica and they both slot better than the GP6, but neither gives me the sound I want. If you have any suggestions on how to widen the gap with the GP6 or if there are any custom options you all offer for that kind of thing, I'm all ears.

Define "compression."

Very profound. Thank you so much

Great stuff, Christian. Thank you very much for sharing it.

EXCELLENT info Christan! I hope to come visit you guys soon!

Great video my man.

But you really didn't define "compression."

Damn, so much knowledge and things to learn😯 about the trumpet. THANK YOU for the video/channel. Very informative and I will look forward to continuing to learn more.

How are the cup shapes, place where it goes into the throat and the shape of the rim differ between his mouthpieces ? Thanks. You are always a big help

As you age 60s are you more likely to need to be a resistance player.

So who afford to have this kind of customization done?

Explains why some guys swear by this, what they call "clocking the mouthpiece."

I came back to playing trombone....after 52 years. Any help is very much appreciated.

Love it. Thanks Chris!

One of the best explanations of throat sizes and boring out a mouthpiece. You gave away a lot of trade secrets LOL. Great video.

thanks so much cuz i have the legatos on my summer packet for band but it didn’t give a good tutorial for how to make the sound

I really like what you have to say about legato articulation, but I wanted more. I am just a beginner, I'm figuring out what's the difference between a slur and legato? If a piece of music has a slur notated, does tongue play any part in controlling the airstream between notes? How else is the airstream controlled from note to note in, for example the Cichowitz airflow studies? In such a way as to produce a clean ending of each now and beginning of the next? Thanks for the great information here and I'm looking forward to more.

I was a little bit skeptical about watching this video, but I'm glad I did. It's very enlightening. I think I've been mostly an active player and really need to become a lot more passive.

I saw a clinic on here not long ago by Jon Froelich said that Ed Kleinhammer said that the Chicago trombones never used any other articulation than a Dahh tongue for everything,their legato was just a softer dah ,the only time a other T tongues was used was for sfzz tongue ?

Are there any specific reference monitors you’d recommend?

Air speed also important. good mention (about high/low playing, compression is there already high, etc.)

Thank you for this very interesting discussion. Re tension, I would add the Alexander Technique to the approaches and possible help you mention.

The first time I've ever heard of the gap is with Harrison of Harrison Trumpets. He supposedly sells inserts to widen that gap. Do you have anymore videos speaking about this topic?

At the next round of conventions I’m thinking about upgrading my set up, would you recommend finding the horn or the mouthpiece first?

He uses the word "upstream" incorrectly. Upstream doesn't refer to horn angle, but to the angle of the airstream as it leaves the embouchure. The fact he's placing the mouthpiece mainly on the top lip makes him downstream.

Increasing the air power DOES influence the tone color as well as dynamics. They are not independent. The air is not literally hot or cold.

Very interesting - his ideas on embouchure are kind of "anti-Markey". Not better, not worse, just different. But VERY interesting.

Love the videos

6:52 - Ko-Ichiro talked about the warm air/ colder air in a workshop.

ST-550 was the Holton MF "Admiral" trumpet.

Very interesting. This is something that I never heard when I was majoring in music while in college, but it makes sense. It also makes me think that trying to buy a stock mouthpiece where you wouldn't possibly know if it is going to "fit" or not before you buy it could lead to a lot of frustration. I've been playing a Bach 1-1/2 G on a 1970's Bach 50 B2 (independent valves) for years. I haven't kept up my playing, but several things have always been true on the horn: 1) it is difficult to get the notes below the staff to pop in without a lot of work and 2)1st position F below the staff with the F trigger is hard to tune. Outside of that the horn is okay other than it always takes more air than I could ever provide regardless of how big a breath I take. It's probably me and if I practiced more maybe I could overcome some of the difficulties in playing this horn, but it very frustrating so I don't practice.

i'm going through this engagement thing right now and I''m tossing in the towel, getting a new horn. I have a Yamaha Xeno 822G. i like the sound and relative ease of playing WHEN on certain mouthpieces. For example the notes especially in the upper register and lower register slot so much better when using a Yamaha mouthpiece. My 58 and 59 slot well, although compared with others I have, I'm not wild about the sound. Also my newest Wedge mouthpieces with the "deeper" shaft for "deeper" receivers slot better, again with not quite the sound of, for example my Markey 85 and 87 or my Greg Black 1 7/16th and my Greg Black 1 3/8. These 4 insert further than the previously mentioned pieces. They slot well enough in the mid range, but require 300% concentration to catch a low E or E-flat with f-trigger. Way too much leeway in pitch. When I switch out for a Wedge or the Yamaha, the accuracy and tone colours are better on these low notes. I tried experimenting wrapping the shanks with teflon tape and that brought some improvement, but ... sporadically it was like the horn stopped playing and it appears that bits of tape would break loose and slop up the main slide - big chunks of teflon goop. This "engagement" problem is well known of the Yamaha 830, 822 and what I've heard the older 620 and 613, 612. So I'm going to try the new Yamaha 835GD that is supposed to have solved this problem and see how my mouthpieces fit. Will also try the Shire Q series. I'm 71, so am not going to invest in a boutique horn, since I'm now retired from public performance and only play for my own enjoyment.

Can't wait for part 2 of this.

Thank you! This is so helpful

Like magic- how a horn can sound so throaty and dark but also bright… Focused and compact sound, but with so much body… I want it.

No gloves? Dudes!

Pretty darn cool find there!!! The Martin-Committee Miles used was the #3 large bore. He had one as did Freddie Hubbard and even Maynard Ferguson played one from 1953-1954. Dizzy, Conte Candoli, Ernie Royal, Lee Morgan, Bob McCoy all played the 2b medium bore model. Renold Schilke was a collaborator on the design of the old Martin's and if you asked Mr. Schilke, he would say "The Martin's were designed by a committee of one...ME!"

I have a real commiitte not an RMC, it does have a distinct mellow sound compared with other trumpets but It's not about the machine, it's about the player.