In this video we look at getting a relaxed sound and discuss things that might be creating tension. Getting tension out of our playing is key to range and endurance
John, Thank you for addressing some of the bad habits we can develop. I'm 62 yrs old , started playing trumpet about 4 Yrs ago. I found this video easy to understand. You explained things very well so us beginners can get it. Thanks again! Brian
Jon, I've been watching your videos for years. As always, this video provided some incredible advice that's easily applicable to all kinds of trumpet players.
I have already watched 10s if not 100s of videos to help me produce good tones. For the first time I grasped the logic and was able to get good sounds even in the upper register. That was really awesome . I have subscribed and look forward to other beginner videos. (I'm no kid though , age 77.)
Great video as always, but the timing is scary. This is exactly the problem I'm having at the moment, and exactly confirmation of what I need to be doing. Tony Lujan a great player here has been helping me to try and open up, even adding a trombone mouthpiece, which is helping too. Thanks again Jon!
It is my experience that support always is in play. When we use our air efficiently there is always an element of support being used. As I ascend there is more energy engaging. I think it is fair to say that it becomes more apparent above the staff. Activating the support when we reach a register that challenges us is key to gaining control of that register. I don’t over think it at this point, it has be come a normal function of my playing. However, if I find myself missing a note or not making a leap in either direction this is the first thing I check. Best, Jon
Very helpful video, thank you! I've propably had TMD for many years but found it out recently because playing trumpet for 2 years made things much worse. Jaw clenching is my main problem and being relaxed while playing is not easy (in fact it's extremely hard) but I'm working on it. I'll follow your advice.
Rod H So glad you like the horn I do think That Stomvi makes very fine equipment. It certainly is gear worth looking at. Thanks for checking out my videos I do my best to get ideas out there that just might help somebody.
I’m old and starting back up. My Getzen700s came with a 7C. That doesn’t work anymore.I’m using a Bach 10 3/4 CW. It’s so much easier and easier on my lip.Thanks for a great lesson
Sometimes I feel like I play to open but I love the sound I get because of this. It almost seems like it hinders the development of my upper register at times even though it's a full open sound. Which exercises do you play from the Irons? I'm playing 6,7&8 each day.
Britt Wright I play all 27 exercises but I’ve worked my way up to being able to do that over a long period of years. It truly is possible that your to open in the upper register. As we ascend our jaw normally comes up a bit to support the embouchure need to play in the upper register. I would experiment a little bit with what my jaw is doing. Always go for a good sound and never hurt yourself. Best, Jon
Thanks Jon! The "cough" analogy paints an excellent picture of what support should feel like. At what point (ascending) do you begin to feel the support coming on? Is it something that you become aware of at say, G above the staff, or.... ?
sorry to be so offtopic but does anyone know of a way to log back into an instagram account? I was stupid lost the password. I appreciate any tips you can offer me!
@Gary Camden i really appreciate your reply. I got to the site thru google and Im trying it out now. Seems to take a while so I will reply here later with my results.
Hey John, do you know what might cause double buzzing in the upper register? I feel like im playing pretty opened in the mid to low register. On good days I can get up to D above high C, but I start to get double buzzes starting at around Bb above the staff.
Ryan Drone Hard to diagnose without sitting with you and watching what you’re doing and exploring the possibilities together. I did address this little bit in the following video hope some of this helps. ua-cam.com/video/U4GyVG6nEsI/v-deo.html
Jon - while sounds as simple as it is, relaxed playing for many of us is a much more complicated and involved thing. In short - it's easier said than done. The major problem is finding the relaxed approach that at the same time brings best (range and tone) results. Those gifted trumpeters naturally feel what they should do for most efficient playing. The rest find their way through this maze through trial and error and if the error is mistaken for how the trumpet should work a poor trumpeter is headed in the wrong direction fighting the horn and they believe that's how the things should be. It's a very subtle moment when one begins to tense up and it's so easy to tense up and once that happens it's so hard to get back on the "relaxed way of playing track". The major problem in trumpet pedagogy is explaining trumpet technique using abstract images like "blowing further, not higher", "squeezing the end of a hose", "spitting rice", "fast air, slow air", etc. etc. However all these images say nothing about how it feels for a particular person. For instance, one knows that he should think blowing further (to play higher), not higher and be relaxed - how he will combine these two tasks is on a very personal level.
John Piettro you are correct. I make a point of suggesting anyone trying the things I offer abandon them if they do not work. I often say that if they do not work for you move on to something else. I try not to speak from a position of authority but from experience. I still to this day discover the feeling of how to do something. I am beyond aware that my offerings may/will not work to change any particular players situation. They are concepts and ideas only meant to be experimented with. If they work fantastic if they don’t no money was paid to try it. I obviously feel bad for any time lost in a direction that has led to a diminished playing from any advice I may have offered. That being said the pathway to be able to play relaxed starts in a register that is relaxed. If the individual has not been able to established a register that is relaxed then there obviously is no starting point. Being able to completely describe someone’s feeling or sensation in any moment of playing the trumpet is certainly almost an impossible task. Most trumpet players and teachers of the trumpet are not scientists or have studied anatomy in depth. Most students have not done so either. Descriptions as to any human experience in my opinion are absolutely the best type of description that we can offer. Playing the trumpet is not a natural process however trying to describe what we’re doing in terms of something that is I find helpful. I’m not sure what your direction here is in your comment. I am unclear if you are trying to inform me of something I already know or if you’re suggesting I should stop offering advice. I started down this path with a completely different channel in mind. As it took on its own legs I found myself being asked questions that I did my best to answer. My quest was only to provide information that I could to those that may not have been able to find it. I have been very blessed in my musical experience and felt compelled to share what I could. My only hope for the existence of my channel is to provide one person one answer to one question. If this has happened then my hours of labor to provide concepts and ideas was worth every minute. Best, Jon
John Piettro In my quest to try to understand what your comment really is about let me also make clear that I was never a natural player. It has only been later in life that I find myself gravitating towards the most relaxed approach that I can find. I was exceedingly lucky that I grew up with a mother that was a Music educator. She started me playing and insisted that I have a teacher. I was insanely lucky that she chose a teacher that provided a foundation that I use to this day. The most basic part of playing was my earliest beginnings. These basic flexibility and scale studies have remained the epicenter of my approach. I did not have a fantastic range as a teenager. Unfortunately I had braces during three years of high school. I spent countless hours trying to figure out how to get into the upper register. I had some discoveries and some breakthroughs that finally allowed me to reach notes well above hi C in my mid-20s. It wasn’t until my 40s I was able to figure out how to connect everything all the way to double C. This is not the pathway of a natural player. I offer thoughts on how to avoid the pathway I took. Hopefully a young player in their teens discovers these things so they can become that person that people believe to be a natural player. I injured my lip so severely that I required surgery. I do discuss this on several videos. My pathway back to playing started with not being able to play a single note. I abandoned all my equipment and started over again with completely different gear. I started my rebuild process by achieving one note. Then built very slowly from one note to the next. A process that not many will take the time to do. I was able to rebuild rediscover and achieve an extremely high level of proficiency once again. Through this process I learned a great deal. Unfortunately no I cannot climb inside peoples bodies and start pointing to the things that they need to be doing in the position of their tongue the amount of flex that they need in their midsection or the feeling of support that they are supposed to develop when attempting to play into the upper register. All these things must be discovered. I have long stated that range is discovery. If you have any insights as to how to describe things or verbiage that should be used please feel free to present them here or even in videos of your own. I have no idea if you have a channel or not. If you do have information I’d be very happy to share it. I will address one point that I disagree with. I certainly don’t think blowing further to play higher. I think Jim Manley says it best, try to blow out one candle on the birthday cake ( in other words select only one candle on the birthday cake out of the Manny that exist) and use as little air you can to put it out. What he is saying is use an incredibly small airstream but have it be very very direct and very focused. Neither description explains what you’re actually doing. Conceptual imagery in many cases is as good as it gets. Best, Jon
@@Rufftips Jon - I treat your advice with great respect so don't think I criticize you or something like that. I only suggest that not everyone is able to achieve relaxed playing by simply committing themselves to play relaxed. Again - I completely agree with you but for many trumpet players it's not just a sudden revelation that they should play relaxed - they probably know that but they cannot relax as they don't know how. For many trumpeters there should be a method of relaxation suggested - a set of exercises for months or even years to come. Greg Spence had such a method but it doesn't work for many as they are too impatient. For some they begin to fix their tensed playing in weeks or months, for others it takes years, some never get it and give up.
@@Rufftips Jon - thanks and keep posting your tips - they are great help for everyone. All is well and I was simply making a point that playing relaxed if one doesn't do it already could be a hard task to work on.
John Piettro You are correct most feel because they’re not patient enough to take the time to learn how to play properly. It is not something you learn in one video with something you have to commit yourself to achieving. Best, Jon
@@Rufftips what is the purpose of it? You are a great instructor! You are so right about relaxing. I've been working on your tip and it really improves the tone!
Anthony Lenzo As we ascend our jaw position moves. It may come forward a tiny bit and move up a little bit. So the point is to be open in the bottom so that as we ascend the jaw motion doesn’t create too closed of a position and choke off the sound. Check out this video to see the jaw motion in action ua-cam.com/video/LJXt8SL8VWo/v-deo.html
John,
Thank you for addressing some of the bad habits we can develop.
I'm 62 yrs old , started playing trumpet about 4 Yrs ago.
I found this video easy to understand. You explained things very well so us beginners can get it.
Thanks again!
Brian
I can’t stress the fact on how much this helped me
Beautiful lesson 🎉👍🏽👏🏽👏🏽👏🏽👏🏽
Great video as always
Jon, I've been watching your videos for years. As always, this video provided some incredible advice that's easily applicable to all kinds of trumpet players.
Erick Sanchez Thank you so much for the kind words.
Great explanation. Thank you very much.
great great video! thanks a lot it was really complete and helpful, cheers!
Your channel is the all around best I thank you for that
Paul Dance That is very kind thank you
I have already watched 10s if not 100s of videos to help me produce good tones. For the first time I grasped the logic and was able to get good sounds even in the upper register. That was really awesome . I have subscribed and look forward to other beginner videos. (I'm no kid though , age 77.)
Mertol Göksoy I’m glad some of this has helped
This was a perfect video for me.
Great video as always, but the timing is scary. This is exactly the problem I'm having at the moment, and exactly confirmation of what I need to be doing. Tony Lujan a great player here has been helping me to try and open up, even adding a trombone mouthpiece, which is helping too. Thanks again Jon!
Steve Ferraro Tony is an incredible player I am sure he will help you get it worked out. Best Jon
Great video, invaluably helpful. Many thanks.
TheGentleUncle you’re very welcome. Best, Jon
It is my experience that support always is in play. When we use our air efficiently there is always an element of support being used. As I ascend there is more energy engaging. I think it is fair to say that it becomes more apparent above the staff. Activating the support when we reach a register that challenges us is key to gaining control of that register. I don’t over think it at this point, it has be come a normal function of my playing. However, if I find myself missing a note or not making a leap in either direction this is the first thing I check. Best, Jon
Very helpful video, thank you! I've propably had TMD for many years but found it out recently because playing trumpet for 2 years made things much worse. Jaw clenching is my main problem and being relaxed while playing is not easy (in fact it's extremely hard) but I'm working on it. I'll follow your advice.
Paulina Dąbrowska Very best of luck to you
I always look for new teaching from you. Thank you so much. btw I'm a customer of yours and I really like my horn.
Rod H So glad you like the horn I do think That Stomvi makes very fine equipment. It certainly is gear worth looking at. Thanks for checking out my videos I do my best to get ideas out there that just might help somebody.
I’m old and starting back up. My Getzen700s came with a 7C. That doesn’t work anymore.I’m using a Bach 10 3/4 CW. It’s so much easier and easier on my lip.Thanks for a great lesson
Thank you!
Fantastico
Sometimes I feel like I play to open but I love the sound I get because of this. It almost seems like it hinders the development of my upper register at times even though it's a full open sound.
Which exercises do you play from the Irons? I'm playing 6,7&8 each day.
Britt Wright I play all 27 exercises but I’ve worked my way up to being able to do that over a long period of years. It truly is possible that your to open in the upper register. As we ascend our jaw normally comes up a bit to support the embouchure need to play in the upper register. I would experiment a little bit with what my jaw is doing. Always go for a good sound and never hurt yourself. Best, Jon
Might just have found all the things wrong with my playing right now, tanks:D
Antti-Jussi Hautala Good luck with everything
Bro accidentally tricked an asthmatic into coughing.
Thanks Jon! The "cough" analogy paints an excellent picture of what support should feel like. At what point (ascending) do you begin to feel the support coming on? Is it something that you become aware of at say, G above the staff, or.... ?
sorry to be so offtopic but does anyone know of a way to log back into an instagram account?
I was stupid lost the password. I appreciate any tips you can offer me!
@Otto Tobias Instablaster =)
@Gary Camden i really appreciate your reply. I got to the site thru google and Im trying it out now.
Seems to take a while so I will reply here later with my results.
@Gary Camden it did the trick and I finally got access to my account again. I am so happy:D
Thank you so much you really help me out !
@Otto Tobias no problem :D
Hey John, do you know what might cause double buzzing in the upper register? I feel like im playing pretty opened in the mid to low register. On good days I can get up to D above high C, but I start to get double buzzes starting at around Bb above the staff.
Ryan Drone Hard to diagnose without sitting with you and watching what you’re doing and exploring the possibilities together. I did address this little bit in the following video hope some of this helps. ua-cam.com/video/U4GyVG6nEsI/v-deo.html
Jon - while sounds as simple as it is, relaxed playing for many of us is a much more complicated and involved thing. In short - it's easier said than done. The major problem is finding the relaxed approach that at the same time brings best (range and tone) results. Those gifted trumpeters naturally feel what they should do for most efficient playing. The rest find their way through this maze through trial and error and if the error is mistaken for how the trumpet should work a poor trumpeter is headed in the wrong direction fighting the horn and they believe that's how the things should be. It's a very subtle moment when one begins to tense up and it's so easy to tense up and once that happens it's so hard to get back on the "relaxed way of playing track". The major problem in trumpet pedagogy is explaining trumpet technique using abstract images like "blowing further, not higher", "squeezing the end of a hose", "spitting rice", "fast air, slow air", etc. etc. However all these images say nothing about how it feels for a particular person. For instance, one knows that he should think blowing further (to play higher), not higher and be relaxed - how he will combine these two tasks is on a very personal level.
John Piettro you are correct. I make a point of suggesting anyone trying the things I offer abandon them if they do not work. I often say that if they do not work for you move on to something else. I try not to speak from a position of authority but from experience. I still to this day discover the feeling of how to do something. I am beyond aware that my offerings may/will not work to change any particular players situation. They are concepts and ideas only meant to be experimented with. If they work fantastic if they don’t no money was paid to try it. I obviously feel bad for any time lost in a direction that has led to a diminished playing from any advice I may have offered. That being said the pathway to be able to play relaxed starts in a register that is relaxed. If the individual has not been able to established a register that is relaxed then there obviously is no starting point. Being able to completely describe someone’s feeling or sensation in any moment of playing the trumpet is certainly almost an impossible task. Most trumpet players and teachers of the trumpet are not scientists or have studied anatomy in depth. Most students have not done so either. Descriptions as to any human experience in my opinion are absolutely the best type of description that we can offer. Playing the trumpet is not a natural process however trying to describe what we’re doing in terms of something that is I find helpful. I’m not sure what your direction here is in your comment. I am unclear if you are trying to inform me of something I already know or if you’re suggesting I should stop offering advice. I started down this path with a completely different channel in mind. As it took on its own legs I found myself being asked questions that I did my best to answer. My quest was only to provide information that I could to those that may not have been able to find it. I have been very blessed in my musical experience and felt compelled to share what I could. My only hope for the existence of my channel is to provide one person one answer to one question. If this has happened then my hours of labor to provide concepts and ideas was worth every minute. Best, Jon
John Piettro In my quest to try to understand what your comment really is about let me also make clear that I was never a natural player. It has only been later in life that I find myself gravitating towards the most relaxed approach that I can find. I was exceedingly lucky that I grew up with a mother that was a Music educator. She started me playing and insisted that I have a teacher. I was insanely lucky that she chose a teacher that provided a foundation that I use to this day. The most basic part of playing was my earliest beginnings. These basic flexibility and scale studies have remained the epicenter of my approach. I did not have a fantastic range as a teenager. Unfortunately I had braces during three years of high school. I spent countless hours trying to figure out how to get into the upper register. I had some discoveries and some breakthroughs that finally allowed me to reach notes well above hi C in my mid-20s. It wasn’t until my 40s I was able to figure out how to connect everything all the way to double C. This is not the pathway of a natural player. I offer thoughts on how to avoid the pathway I took. Hopefully a young player in their teens discovers these things so they can become that person that people believe to be a natural player. I injured my lip so severely that I required surgery. I do discuss this on several videos. My pathway back to playing started with not being able to play a single note. I abandoned all my equipment and started over again with completely different gear. I started my rebuild process by achieving one note. Then built very slowly from one note to the next. A process that not many will take the time to do. I was able to rebuild rediscover and achieve an extremely high level of proficiency once again. Through this process I learned a great deal. Unfortunately no I cannot climb inside peoples bodies and start pointing to the things that they need to be doing in the position of their tongue the amount of flex that they need in their midsection or the feeling of support that they are supposed to develop when attempting to play into the upper register. All these things must be discovered. I have long stated that range is discovery. If you have any insights as to how to describe things or verbiage that should be used please feel free to present them here or even in videos of your own. I have no idea if you have a channel or not. If you do have information I’d be very happy to share it. I will address one point that I disagree with. I certainly don’t think blowing further to play higher. I think Jim Manley says it best, try to blow out one candle on the birthday cake ( in other words select only one candle on the birthday cake out of the Manny that exist) and use as little air you can to put it out. What he is saying is use an incredibly small airstream but have it be very very direct and very focused. Neither description explains what you’re actually doing. Conceptual imagery in many cases is as good as it gets. Best, Jon
@@Rufftips Jon - I treat your advice with great respect so don't think I criticize you or something like that. I only suggest that not everyone is able to achieve relaxed playing by simply committing themselves to play relaxed. Again - I completely agree with you but for many trumpet players it's not just a sudden revelation that they should play relaxed - they probably know that but they cannot relax as they don't know how. For many trumpeters there should be a method of relaxation suggested - a set of exercises for months or even years to come. Greg Spence had such a method but it doesn't work for many as they are too impatient. For some they begin to fix their tensed playing in weeks or months, for others it takes years, some never get it and give up.
@@Rufftips Jon - thanks and keep posting your tips - they are great help for everyone. All is well and I was simply making a point that playing relaxed if one doesn't do it already could be a hard task to work on.
John Piettro You are correct most feel because they’re not patient enough to take the time to learn how to play properly. It is not something you learn in one video with something you have to commit yourself to achieving. Best, Jon
Great video, what is the black wrap on the valves?
edstud1 www.lscoguard.com/guards/trumpet/bb-and-c.html
@@Rufftips what is the purpose of it? You are a great instructor! You are so right about relaxing. I've been working on your tip and it really improves the tone!
edstud1 ua-cam.com/video/yxsAkztVsd4/v-deo.html
@@Rufftips thanks a million!
Okay I have the opening wider but now can not make notes higher than "4th line D" what should I do to correct this ?
Anthony Lenzo As we ascend our jaw position moves. It may come forward a tiny bit and move up a little bit. So the point is to be open in the bottom so that as we ascend the jaw motion doesn’t create too closed of a position and choke off the sound. Check out this video to see the jaw motion in action ua-cam.com/video/LJXt8SL8VWo/v-deo.html
Rufftips Thank you for your help and for you taking the time to make these fine videos ,Anthony
Anthony Lenzo you are very welcome
Talking about holding your trumpet, if you watch maynard, and many other pro players they don't even use the triggers.
3:47 excessive pressure
5:42 closed off
6:59 relaxed and low
7:17 squeezing
9:36 closed teeth
10:27 not full sound
Thank you