Great stuff, Greg! Everytime I´m watching one of your videos some improvements come immediately...although I already know it and know it is simply true, I highly recommend watching Greg´s videos over and over again. Every single time you can get something (new or "old") out of it. Thank you Greg for your work and for your dedication!!
I’m 49 turning 50. I’m just starting to learn. I initially started to learn in my early 20’s but stopped very early into training due to socio-economic reasons. I recently manage to get a trumpet with the aim to get back in and restart. So I’m you-tubing to see what people are saying/teaching. While I’m new again….. I can look with a more open mind….. so here goes….
Just do Greg’s system. He won’t give names of top pros he’s saved, but I’ve met one-and it’s real. I’m not a pro, but my efficiency has gone through roof-it did take a lot of time to unlearn some stuff.
Great video, Greg! I'm having great progress with your approach of engaging the aperture corners and using a kind of "less-is-more"approach to playing. I think I was over thinking and clamping down the middle of my lips previously. Lately, I have been amazed at how little I need to change to ascend higher to high C and beyond. I'm really starting to feel that MTM / Windworks is helping me to progress past where I thought it would be possible for me to play. Thank you!
Keep preaching it, brother! You probably selflessly do more for trumpet education that just about anyone out there with your free videos and with the numerous responses you give all the time. One of my biggest regrets is that I didn't take more advantage of when you were here by asking you a ton more questions and having you work with me on the concepts you describe. I guess I was too embarrassed at the time to admit that I was having playig struggles. You should submit to present at ITG in 2021 in Los Angeles and keep spreading the word. I've been away from the course for awhile as I was seeing some improvements in my playing, but I'm a lip pincher and it causes me to have limitations that I don't want to have anymore. I never could get the horn to make a sound with the maaaooohhh lip formation but I'm sure it's because I was doing it wrong. Frustration set in and eventually I gave up on it. So it's back to the Largo stage I go to re-watch the videos and start over. Oh, and anyone who gives this video a thumbs down is a tool. Greg can back up everything he says every day of the week!
William Takacs "A Tool" such a funny term :-) Thanks mate, we are all on our own journey and can only discover things when we are ready psychologically for it. Welcome back, take your time and you know I've been sitting next to my ipad for months since you said you wanted to chat haha... any time you are ready! One day I hope to be invited to speak at ITG, I'd happily pay to fly myself and pay for accom etc etc. I know the "powers that be" do not appreciate my approach so I'd prefer to spend my time helping people rather than trying to prove myself to the ESTABLISHMENT. Waiting for your call... waiting... haha :-) Thanks mate, best wishes. G
@@mysterytomastery1 DUDE! I'M SOOOO READY! Starting back to the beginning of the course today. As in, right now. Man, I really want some Boags Beer now... :)
@@wjtakacs HAHAHA, it is actually a delicious drop, I had some this week! I saw your epic post on the forum, stand by... I am about to film what I think is the most important video I have ever done and it relates perfectly to you. Talk real soon. Greg
Hello I have tried your method and I have to say that from day one I have noticed changes First of all play without tension Better sound and range Most important for me is that I can concentrate more on the music as it is much easy to play the trumpet What you say make sense and works ( for me) Thank you very very much
Dear Greg, I played the horn from 13 to 80 with the Fred Fox method cancer stopped that for a time 5years took up your method now 86 ,4 of my family wanted to play all wanted to buzz could'nt latch on until I showed what I did my self instead Freds eee & aaww sounds I got them to say the word waaar and doing so place on the mp a bit of pratice & then place on the trumpet and sounds around bflat tobn & c etc, it kicked in with the no wind but a belly blown sound. Thanks for all your help .Cheers Gordon
Hey budd, I understand. Long time ago, became a merchant seaman, took a regulation plastic bugle. Developed a great tone. picking it up again, w/ Yamaha knock off. Sir, show me how you might use a sipping straw for 1) centering the opening of the embrochure 2) then buzzing the straw, 3) use your tonguing sylables. 4) please make a video of all with pro's & con's of this experiment. Thank You, Bee Well. Bernard
Unlearning bad habits. Oy. Jason Harrelson credits having to recover from a stroke with eliminating bad habits and improving his playing. Much healthier to take lessons from someone like you!! My first view of your vids. Will subscribe!!!
I play trombone and thanks to you ie relaxation, big comfortable breath and just let the air come out relaxed without over pushing along with not over blowing as you go high has improved my playing. However it can be slightly misleading only because it gives the impression that it will just happen whether you practise a lot or not when for me to improve using your pedagogy requires many hours practise.
An epiphany. I’ve been working on Greg’s course for about 10 months. Progress has been pretty constant though I keep finding old habits either creeping back or not having been solved. I am convinced Greg is a genius and has solved my decade long inability to play with any ease above the stave. High C is now as easy as talking and I’m continuing to work onwards and upwards. The “obsession with compression” of some approaches now seems misguided and limited me for years.
Btw. I have also studied Claude Gordon and his exercises are great. The missing part is the formation of the aperture. I don’t believe CG ever intended to promote super-high compression or massive lip clamping pressure. Also, Louis Maggio similarly, and note Maggio puts the right aperture forming picture on the front of his book, but I just didn’t get it!
What you have said here, is one of a collection of problems I am ironing out. This is so true. We are all already at double high whatever: its just we stop it from happpening
My college trumpet prof absolutely refused to allow tongue between the teeth for articulation. Behind the teeth only....ever!! Took me years to relearn, as I came in as an undergrad tonguing between my teeth and he forbid that approach.
Hey Steven, I agree that if you were tonguing between the teeth on every note, problems could possibly arise and I am definitely not suggesting to articulate that way all off the time. There are, however, benefits to gained and also there are world class players that do tongue that way. The red flag for me in the word “forbid”. Thanks for watching and sharing.
Greg, thanks so much for posting this "rant". I've recently signed up for the Largo Status. I think I may have actually had a bit of a breakthrough already, but I wanted to check with you, first. I noticed that when you defined the aperture "corners", you described them as the outer edge of the lip opening. I've always thought of the corners being the outermost connection of the top lip with the bottom lip! So anytime I tried to bring my corners together, I would get a badly over puckered, inefficient embouchure. If I understand you correctly, the aperture corners are literally the left and right point of the airflow. I wasn't able to play much today, but what little playing I was able to do after this epiphany was much easier than I could have imagined! I'm looking forward to the rest of the trial period!
Hey Michael, yeah as I say in the course, confusion around "corners" is rife and it never made sense to me. It is the "frimness" of the lips where the meet the rim that activates the pitch change. You'll see it explained in depth throughout the course. Thanks for being involved! Cheers, Greg
Greg. This bias towards a certain school or teacher is amazing. I'm reminded of Roger Ingrahm who, while playing in Tom Jones' orchestra was advised by Claude Gordon to take a lesson from an established trumpet teacher in every city of his tour. There's a great UA-cam video of him describing when he met Renold Schilke in Chicago. He talks of taking a lesson from William Vacciano while in New York, and other teachers in other cities. You never know when a teacher can say the one thing that turns on a light for you. By the way, Schilke was a seriously physical player. I took a few lessons with him and studied with one of his students at Elon College (University now). I must say that Windworks is causing me to set all that aside and re-think and re-learn how I produce sounds on my trumpet. Now I'm beginning to understand how to play without so much tension. Hey what is that Ay-yeah (air?) you and James Morrison keep talking about? Just kidding, mate. Cheers!
I start to feel what you are talking about....what an experience😀Well put into words but I could only value it by figuring out. At the end it is a Feeling, no? Thank you
I love your approach. Since semantics are important, perhaps calling it "muscle contraction" instead of "tension" may help in the psychology? "Tension" conjures up squeezing, tightening, over exetion, forcing whereas contraction implies action which naturally flows from going into upper register. Just some thoughts.
that's wild to hear someone address the 'break' at high C. I only just got up there to high C's, G's, and on up earlier this year. I noticed that it feels like lips are buzzing all the way up to D. Then all the high notes above feel like "whistling"! They're kind of "easier" although it takes a lot of compression to get them started and I have to slide up/ can't really TONGUE and come in on a high F like is needed
just started playing again I notice that my aperture when i dont try to manipulate it is off center to the right. I had been placing the mouthpiece to left as I could get higher in the scale to G above the staff occasionally. Now I see after watching this and your video on focal dystonia that I should be placing the mouthpiece to the right to match the aperture . Trying to force the aperture into the middle has caused me to apply a lot of force and maybe this is why my jaw locks once I play some excercises from c in the staff to F. I will work and the foundation level again to see what happens. Hans Habereder
Hi. Very interesting what you explain here. I am not able at all to buzz only the lips. I only can blow sound when I put the mouthpiece on the lips. Is it ok this way?..
Hey William, Patience and repetition of the new process. You are creating a new neural pathway, brick by brick and eventually it will be the main route to take. Please get your Largo Status, it is all explained there. All the best. Greg
I always think about two closing scissors from the corners of the mouth! The aperture reacts on the rising pressure from the abdominal area, there must be a balance for every pitch......!
Hey Karl, I love the scissor analogy. I’m curious about the “reacts to the rising pressure from the abdominal are” comment. There is no doubt that if abdominal pressure is increased, it will have an impact on the lips. Balance is required for sure but then volume comes into the equation. I encourage the psychology to be that the aperture corners can change the pitch with no change at all in abdominal pressure and abdominal engagement is a voluntary action to increase volume on any pitch. This is purely to dispel the idea that the abs and lips are involved in pitch change.
Greg, i agree, it"s possible to change pitch only by changing muscular strengh in the corners to vary the aperture, but......you are right, with rising pitch the volume drops and you have to release more air to hold the volume (means to hold the air flow constant with higher air speed. In my case i can play up to notes around the G on top of the staff without additional abdominal pressure, i could reach also a high C but only a soft weak tone comes out of the bell! I think that the basic physical principle: There is no pressure without resistance! is involved here in combination with the Bernoulli/Venturi effect! But that means it works also the other way round: constant aperture and more air leads to higher air speed in the aperture and so also to a higher pitch! Hen or egg, what was first! It,s much easier to prove the first case cause as trumpet player our lips 《muscular structur) react instantly and unconciously on change of air flow and air pressure! In the extrem upper register we can discover this cleary, the muscular contraction is at maximum, only with additional abdominal pressure is a higher pitch possible.
Hey Craig, rather than being a theory, the aahooh reveals your natural aperture. From that you can learn then feeling of freedom that is possible. Playing off centre is not necessarily a problem, plenty of people do it, but it may not be the optimum position for efficiency. You may be able to take the sensation of the aahooh and transfer it across to your regular playing setup. Cheers, Greg
Hi Greg I just started your program and am trying to grasp your concepts while at the same time trying to play my current responsibilities. One thing I would like to know is I was always taught to keep a tension in the abdominal area to support my upper notes while being careful to keep my throat relaxed. Am I understanding you correctly that you need to get rid of all tension in the body and just learn to change the pitches with lip shape not changing air speed. How do you play louder dynamics if you don’t press out the air? Bigger backswing? It seems that wouldn’t be enough for a fff. Thanks.
Hey Wayne, we have a couple of crossed ideas here. You will change airspeed (between the lips) when changing SHAPE but volume will diminish as you ascend; that's where the body comes in. Louder is a wider aperture and therefor a more active body. You do not need any abdominal support whatsoever to play a short, high note :-) Keep working through the course, it is all explained in detail. Thanks, Greg
Hi Greg, would you say that for the extreme upper register (let's say high G and beyond) you will need to start 'pushing' the air actively or can it be done 'passively' all the way up there?
If you’re not concerned about length of note or volume, the sky is the limit based on the control of the aperture. I limit out about f or g above double c but don’t think for a second I can turn them into long, loud notes. Why? I never ever practice it as I have no need for it. Cheers
Hi,Greg. I've follow a few fundamental lessons. And I 'm trying the method you taught to play the trumpet. I have the same problems when play, it gets puffing cheeks. Does it normal or how could I improve the problem? And still try to understand the Ah-Woo, to form the aperture corner. Thank you.
Hey Cathy, that is a MASSIVE question that would take more than a message to answer. PLEASE get your FREE WindWorks Largo Status, it really is all covered there BUT it takes time. Email me from the course after you have completed your 7 days. Cheers, Greg
Unfortunately for me it's the opposite when my lips are tired can control and spread out so no vibration. But i'm working on 😉👍💪 thank you so much for all your lessons
Hey Gianluca! Stick with it my friend. No one should expect to perform at their best when tire ;-) Please make sure you complete your FREE Largo Status. Cheers, Greg
Hi Greg! I'm gonna check this LARGO state out, but will the results still be same whether I exhaust myself playing the old way (got a lot of playing ahead)? And a question about posture. As a person who has a really bad posture and can't stand straight for very long (just general weakness) - could this also cause bad endurance? I have never seen any trumpet player playing high notes in a Chet Baker posture.. :)
Hey dudeman, I look forward to seeing you at the course. You can implement these changes over time whilst maintaining a full playing schedule. I know this because I did it myself. It is as much a psychological transformation as it is physical. I don't think bad posture will cause poor endurance but "general weakness" could be a contributing factor. Very hard to really comment without seeing you. Cheers, Greg
There is also flexion but I tend to use the drum skin, guitar string analogy. I know there is psychological repercussions like there is when you say “power” but for some reason, I feel it is “positive tension” and the term doesn’t bother me... weird huh?!?!
Hi @Andrew Wang. You are not quite doing it the way I would like you to then. It is very important to understand what you are trying to achieve, how and why. You are working on getting the lips out of the way which will be LESS lip tissue in the cup. You are developing a feeling of freedom and body resonance. PLEASE work through the FREE Largo Status Stage, it will all make sense. Best Wishes to you! Cheers, Greg Spence mysterytomastery.com/windworks-sign-up
![[Best Lesson] Trumpet Chat 4 - Dismissive Teachers and Playing in the Red](http://i.ytimg.com/vi/aNTIWmSWfz4/mqdefault.jpg)
![[Best Lesson] Trumpet Chat 4 - Dismissive Teachers and Playing in the Red](/img/tr.png)
Great stuff, Greg!
Everytime I´m watching one of your videos some improvements come immediately...although I already know it and know it is simply true, I highly recommend watching Greg´s videos over and over again. Every single time you can get something (new or "old") out of it.
Thank you Greg for your work and for your dedication!!
I’m 49 turning 50. I’m just starting to learn. I initially started to learn in my early 20’s but stopped very early into training due to socio-economic reasons. I recently manage to get a trumpet with the aim to get back in and restart. So I’m you-tubing to see what people are saying/teaching. While I’m new again….. I can look with a more open mind….. so here goes….
Just do Greg’s system. He won’t give names of top pros he’s saved, but I’ve met one-and it’s real. I’m not a pro, but my efficiency has gone through roof-it did take a lot of time to unlearn some stuff.
Great video, Greg! I'm having great progress with your approach of engaging the aperture corners and using a kind of "less-is-more"approach to playing. I think I was over thinking and clamping down the middle of my lips previously. Lately, I have been amazed at how little I need to change to ascend higher to high C and beyond. I'm really starting to feel that MTM / Windworks is helping me to progress past where I thought it would be possible for me to play. Thank you!
Thanks John, that is brilliant, thanks for touching base. Great work. Greg
Keep preaching it, brother! You probably selflessly do more for trumpet education that just about anyone out there with your free videos and with the numerous responses you give all the time. One of my biggest regrets is that I didn't take more advantage of when you were here by asking you a ton more questions and having you work with me on the concepts you describe. I guess I was too embarrassed at the time to admit that I was having playig struggles. You should submit to present at ITG in 2021 in Los Angeles and keep spreading the word. I've been away from the course for awhile as I was seeing some improvements in my playing, but I'm a lip pincher and it causes me to have limitations that I don't want to have anymore. I never could get the horn to make a sound with the maaaooohhh lip formation but I'm sure it's because I was doing it wrong. Frustration set in and eventually I gave up on it. So it's back to the Largo stage I go to re-watch the videos and start over. Oh, and anyone who gives this video a thumbs down is a tool. Greg can back up everything he says every day of the week!
William Takacs "A Tool" such a funny term :-)
Thanks mate, we are all on our own journey and can only discover things when we are ready psychologically for it.
Welcome back, take your time and you know I've been sitting next to my ipad for months since you said you wanted to chat haha... any time you are ready!
One day I hope to be invited to speak at ITG, I'd happily pay to fly myself and pay for accom etc etc. I know the "powers that be" do not appreciate my approach so I'd prefer to spend my time helping people rather than trying to prove myself to the ESTABLISHMENT.
Waiting for your call... waiting... haha :-)
Thanks mate, best wishes. G
@@mysterytomastery1 DUDE! I'M SOOOO READY! Starting back to the beginning of the course today. As in, right now. Man, I really want some Boags Beer now... :)
@@wjtakacs HAHAHA, it is actually a delicious drop, I had some this week! I saw your epic post on the forum, stand by... I am about to film what I think is the most important video I have ever done and it relates perfectly to you. Talk real soon. Greg
mysterytomastery1 Thanks, man. Haha, epically embarrassing. I just laid it all out there, no regrets. I just want to have fun playing again.
@@wjtakacs Let's get to it!!! I can skype right now if you like!!
Hello I have tried your method and I have to say that from day one I have noticed changes
First of all play without tension
Better sound and range
Most important for me is that I can concentrate more on the music as it is much easy to play the trumpet
What you say make sense and works ( for me)
Thank you very very much
Dear Greg, I played the horn from 13 to 80 with the Fred Fox method cancer stopped that for a time 5years took up your method now 86 ,4 of my family wanted to play all wanted to buzz could'nt latch on until I showed what I did my self instead Freds eee & aaww sounds I got them to say the word waaar and doing so place on the mp a bit of pratice & then place on the trumpet and sounds around bflat tobn & c etc, it kicked in with the no wind but a belly blown sound. Thanks for all your help .Cheers Gordon
Hey budd, I understand. Long time ago, became a merchant seaman, took a regulation plastic bugle. Developed a great tone. picking it up again, w/ Yamaha knock off. Sir, show me how you might use a sipping straw for 1) centering the opening of the embrochure 2) then buzzing the straw, 3) use your tonguing sylables. 4) please make a video of all with pro's & con's of this experiment. Thank You, Bee Well. Bernard
I am a viewer from AU, I tried the maah-ooh-tsu*5, I noticed improvement and I am not strained, feels relaxed and not stressed. Thank you.
Unlearning bad habits. Oy. Jason Harrelson credits having to recover from a stroke with eliminating bad habits and improving his playing. Much healthier to take lessons from someone like you!! My first view of your vids. Will subscribe!!!
I play trombone and thanks to you ie relaxation, big comfortable breath and just let the air come out relaxed without over pushing along with not over blowing as you go high has improved my playing. However it can be slightly misleading only because it gives the impression that it will just happen whether you practise a lot or not when for me to improve using your pedagogy requires many hours practise.
This is helping me SO much! I will buy the course soon!! Thanks!!!
Very professional and easy to understand. I had a lesson with my Euphonium professor, this makes even more sense now. Thank you
An epiphany. I’ve been working on Greg’s course for about 10 months. Progress has been pretty constant though I keep finding old habits either creeping back or not having been solved. I am convinced Greg is a genius and has solved my decade long inability to play with any ease above the stave. High C is now as easy as talking and I’m continuing to work onwards and upwards. The “obsession with compression” of some approaches now seems misguided and limited me for years.
Btw. I have also studied Claude Gordon and his exercises are great. The missing part is the formation of the aperture. I don’t believe CG ever intended to promote super-high compression or massive lip clamping pressure. Also, Louis Maggio similarly, and note Maggio puts the right aperture forming picture on the front of his book, but I just didn’t get it!
What you have said here, is one of a collection of problems I am ironing out. This is so true. We are all already at double high whatever: its just we stop it from happpening
My college trumpet prof absolutely refused to allow tongue between the teeth for articulation. Behind the teeth only....ever!! Took me years to relearn, as I came in as an undergrad tonguing between my teeth and he forbid that approach.
Hey Steven, I agree that if you were tonguing between the teeth on every note, problems could possibly arise and I am definitely not suggesting to articulate that way all off the time.
There are, however, benefits to gained and also there are world class players that do tongue that way.
The red flag for me in the word “forbid”.
Thanks for watching and sharing.
Greg, thanks so much for posting this "rant". I've recently signed up for the Largo Status. I think I may have actually had a bit of a breakthrough already, but I wanted to check with you, first. I noticed that when you defined the aperture "corners", you described them as the outer edge of the lip opening. I've always thought of the corners being the outermost connection of the top lip with the bottom lip! So anytime I tried to bring my corners together, I would get a badly over puckered, inefficient embouchure. If I understand you correctly, the aperture corners are literally the left and right point of the airflow. I wasn't able to play much today, but what little playing I was able to do after this epiphany was much easier than I could have imagined! I'm looking forward to the rest of the trial period!
Hey Michael, yeah as I say in the course, confusion around "corners" is rife and it never made sense to me. It is the "frimness" of the lips where the meet the rim that activates the pitch change. You'll see it explained in depth throughout the course. Thanks for being involved! Cheers, Greg
Greg. This bias towards a certain school or teacher is amazing. I'm reminded of Roger Ingrahm who, while playing in Tom Jones' orchestra was advised by Claude Gordon to take a lesson from an established trumpet teacher in every city of his tour. There's a great UA-cam video of him describing when he met Renold Schilke in Chicago. He talks of taking a lesson from William Vacciano while in New York, and other teachers in other cities. You never know when a teacher can say the one thing that turns on a light for you. By the way, Schilke was a seriously physical player. I took a few lessons with him and studied with one of his students at Elon College (University now). I must say that Windworks is causing me to set all that aside and re-think and re-learn how I produce sounds on my trumpet. Now I'm beginning to understand how to play without so much tension. Hey what is that Ay-yeah (air?) you and James Morrison keep talking about? Just kidding, mate. Cheers!
Great information. I've enjoy your videos and its helped me a ton. Thank you.
I start to feel what you are talking about....what an experience😀Well put into words but I could only value it by figuring out.
At the end it is a Feeling, no?
Thank you
I love your approach. Since semantics are important, perhaps calling it "muscle contraction" instead of "tension" may help in the psychology? "Tension" conjures up squeezing, tightening, over exetion, forcing whereas contraction implies action which naturally flows from going into upper register. Just some thoughts.
that's wild to hear someone address the 'break' at high C. I only just got up there to high C's, G's, and on up earlier this year. I noticed that it feels like lips are buzzing all the way up to D. Then all the high notes above feel like "whistling"! They're kind of "easier" although it takes a lot of compression to get them started and I have to slide up/ can't really TONGUE and come in on a high F like is needed
just started playing again I notice that my aperture when i dont try to manipulate it is off center to the right. I had been placing the mouthpiece to left as I could get higher in the scale to G above the staff occasionally. Now I see after watching this and your video on focal dystonia that I should be placing the mouthpiece to the right to match the aperture . Trying to force the aperture into the middle has caused me to apply a lot of force and maybe this is why my jaw locks once I play some excercises from c in the staff to F. I will work and the foundation level again to see what happens. Hans Habereder
Hi. Very interesting what you explain here. I am not able at all to buzz only the lips. I only can blow sound when I put the mouthpiece on the lips. Is it ok this way?..
Greg This is gold!! I agree with You 100%. My question to You is how do We get rid of bad habits We had for years? How?
Hey William, Patience and repetition of the new process. You are creating a new neural pathway, brick by brick and eventually it will be the main route to take. Please get your Largo Status, it is all explained there. All the best. Greg
I always think about two closing scissors from the corners of the mouth! The aperture reacts on the rising pressure from the abdominal area, there must be a balance for every pitch......!
Hey Karl, I love the scissor analogy. I’m curious about the “reacts to the rising pressure from the abdominal are” comment. There is no doubt that if abdominal pressure is increased, it will have an impact on the lips. Balance is required for sure but then volume comes into the equation. I encourage the psychology to be that the aperture corners can change the pitch with no change at all in abdominal pressure and abdominal engagement is a voluntary action to increase volume on any pitch. This is purely to dispel the idea that the abs and lips are involved in pitch change.
Greg, i agree, it"s possible to change pitch only by changing muscular strengh in the corners to vary the aperture, but......you are right, with rising pitch the volume drops and you have to release more air to hold the volume (means to hold the air flow constant with higher air speed. In my case i can play up to notes around the G on top of the staff without additional abdominal pressure, i could reach also a high C but only a soft weak tone comes out of the bell! I think that the basic physical principle: There is no pressure without resistance! is involved here in combination with the Bernoulli/Venturi effect! But that means it works also the other way round: constant aperture and more air leads to higher air speed in the aperture and so also to a higher pitch! Hen or egg, what was first! It,s much easier to prove the first case cause as trumpet player our lips 《muscular structur) react instantly and unconciously on change of air flow and air pressure! In the extrem upper register we can discover this cleary, the muscular contraction is at maximum, only with additional abdominal pressure is a higher pitch possible.
What advice do you give to someone whose mouthpiece placement is off-centre. Does the ah-ooh theory work as well for them, or not at all?
Hey Craig, rather than being a theory, the aahooh reveals your natural aperture. From that you can learn then feeling of freedom that is possible. Playing off centre is not necessarily a problem, plenty of people do it, but it may not be the optimum position for efficiency. You may be able to take the sensation of the aahooh and transfer it across to your regular playing setup. Cheers, Greg
@@mysterytomastery1 Thanks Greg. Thrilled to get your reply.
Your Amazing Greg - Love this. I'm slowly putting it into practice.Thanks again.
Robert Sims Mate, great to hear from you! I hope you are well. Cheers, Greg
Hi Greg
I just started your program and am trying to grasp your concepts while at the same time trying to play my current responsibilities. One thing I would like to know is I was always taught to keep a tension in the abdominal area to support my upper notes while being careful to keep my throat relaxed. Am I understanding you correctly that you need to get rid of all tension in the body and just learn to change the pitches with lip shape not changing air speed. How do you play louder dynamics if you don’t press out the air? Bigger backswing? It seems that wouldn’t be enough for a fff. Thanks.
Hey Wayne, we have a couple of crossed ideas here. You will change airspeed (between the lips) when changing SHAPE but volume will diminish as you ascend; that's where the body comes in. Louder is a wider aperture and therefor a more active body.
You do not need any abdominal support whatsoever to play a short, high note :-)
Keep working through the course, it is all explained in detail. Thanks, Greg
Hi Greg, would you say that for the extreme upper register (let's say high G and beyond) you will need to start 'pushing' the air actively or can it be done 'passively' all the way up there?
If you’re not concerned about length of note or volume, the sky is the limit based on the control of the aperture. I limit out about f or g above double c but don’t think for a second I can turn them into long, loud notes. Why? I never ever practice it as I have no need for it. Cheers
@@mysterytomastery1 unless you want to do a cat anderson revival band ;-)
@@91Wtr 🤣
A FANTASTIC LESSON!!!
Hi,Greg. I've follow a few fundamental lessons. And I 'm trying the method you taught to play the trumpet. I have the same problems when play, it gets puffing cheeks. Does it normal or how could I improve the problem? And still try to understand the Ah-Woo, to form the aperture corner. Thank you.
Hey Cathy, that is a MASSIVE question that would take more than a message to answer. PLEASE get your FREE WindWorks Largo Status, it really is all covered there BUT it takes time. Email me from the course after you have completed your 7 days. Cheers, Greg
mysterytomastery1 Hello Greg,I've end the 7day free trial. And I'll email you later. Thank you.
Brill thanks, keep at it
Unfortunately for me it's the opposite when my lips are tired can control and spread out so no vibration. But i'm working on 😉👍💪 thank you so much for all your lessons
Hey Gianluca! Stick with it my friend. No one should expect to perform at their best when tire ;-) Please make sure you complete your FREE Largo Status. Cheers, Greg
Hi Greg! I'm gonna check this LARGO state out, but will the results still be same whether I exhaust myself playing the old way (got a lot of playing ahead)? And a question about posture. As a person who has a really bad posture and can't stand straight for very long (just general weakness) - could this also cause bad endurance? I have never seen any trumpet player playing high notes in a Chet Baker posture.. :)
Hey dudeman, I look forward to seeing you at the course.
You can implement these changes over time whilst maintaining a full playing schedule. I know this because I did it myself. It is as much a psychological transformation as it is physical.
I don't think bad posture will cause poor endurance but "general weakness" could be a contributing factor.
Very hard to really comment without seeing you. Cheers, Greg
a better word for tension might be the latin word "tonus": which means something between 'tensed' and 'relaxed' but in 'tune'.
There is also flexion but I tend to use the drum skin, guitar string analogy. I know there is psychological repercussions like there is when you say “power” but for some reason, I feel it is “positive tension” and the term doesn’t bother me... weird huh?!?!
When I pucker and do the “ah-oo” my lips fill up the mouthpiece and I can’t play anything!
Hi @Andrew Wang. You are not quite doing it the way I would like you to then. It is very important to understand what you are trying to achieve, how and why. You are working on getting the lips out of the way which will be LESS lip tissue in the cup. You are developing a feeling of freedom and body resonance. PLEASE work through the FREE Largo Status Stage, it will all make sense. Best Wishes to you! Cheers, Greg Spence mysterytomastery.com/windworks-sign-up
Thank you very much! I was initially confused
Thank you very much! I was initially confused
Thank you a lot god bless you
Typo: Took a regulation plastic bugle to sea /me.
Just sing opera and practice the basics. Seems complicated