The subtle movement of Embouchure required to establish optimum apeture performance is more obvious in the Largo level lower register harmonic slurs. The harmonics being further apart. I have found it difficult to determine whether or not I am on track regards the maximum efficient apeture control promoted by MTM ( Wind Works ) . For me a simple exercise that I find helpful to clarify the difference is to do the Low C to G harmonic slur at slow speed alternating each slur changing pitch by clamping vertically with the corners locked with changing pitch with the corners engaging inward without clamping vertically . It seems to me that one one with out the other ( vertical and lateral engagement ) isn't as efficient as both engaged , mobile , balanced and working together holding optimal apeture shape but the tendency and pitfall is to lock the corners and clamp. At least that was my approach before encountering Gregg's campaighn promoting the importance of flexibility of the apeture corners. Easier said than done perhaps but well worth the effort in my estimation.
Hello Greg, been watching your videos for a while now. If someone was to ask me which of your videos to watch first, I would tell them to watch the one that you talk about mouth compression (don' remember if that's exactly what you called it). You had a glass of water to show what you where doing. For some reason, I practiced this for a while and got positive results, all your other videos made more sense after this. I was wondering if you were going to do another video on this and dig a bit more into it, and how this ties into the maaaoooo!!! thank you!!
Here it is :-) ua-cam.com/video/pSx769PanaQ/v-deo.html Okay, I’ll do a “revisited” version. I hope you have joined the FREE WindWorks Largo Status, it’s really cool! Cheers, Greg
Hi Greg, intrigued about your method. What do you say about focusing on the ‘wedge breath’ for upper register playing? Lots of great players (Bobby Shew, Roger Ingram, Maynard, Wayne Bergeron) all say compression is created in the abdominal muscles thus moving the air faster for upper register playing. Not necessarily MORE air but faster air. Did you say not faster air? I’m a bit confused here?? Thanks
David Boa Hey, now I have to be very concise as to not be misconstrued. I am actually going to do a video based on my vast experience with the Wedge. Firstly, all of the guys you mentioned are heroes of mine and I know Wayne, Bobby and Roger personally and respect the hell out of them. My issue with the “Wedge”, if not administered correctly, “can” create immense negative tension. That of course is not the “intention” (see what I did there???) haha but the psychology that it can set can be troublesome when not completely understood and implemented correctly. The “compression” factor in the body does not impact the range. The face, what I call “SHAPE” (jaw, tongue, lips, facial muscles) sets the pitch and the body (below the head) supports the volume and length of notes. If the SHAPE is incorrect, no amount of air pressure, support, compression etc. etc. will achieve the desired result. I have heard the opinion from very high profile players that you blow faster and the lips accomodate by tightening as you ascend. This, to a degree, might be an acceptable explanation if the notes are getting LOUDER as you ascend but definitely not if you are getting “softer”. All that aside, the blow faster psychology is crippling people... of all standards and I am seeing on a daily basis giving lessons to high level pros. I fought my instrument for years having this same understanding. The body is too strong and can easily corrupt an efficient playing system. I’ll finish now by saying that the psychology “compression will help you play higher” is scientifically flawed and “can” create massive, unnecessary negative tension. Cheers, Greg
mysterytomastery1 hi Greg, thanks for your reply. Appreciate the response. Yeah I see what you’re saying. I look forward to a video about the wedge breath. Cheers Dave
The warmups are really more of a showoff performance kind of thing than a warmup. I’d recommend warming up beforehand so you don’t need to use that as the warm up. It also helps to not always play super loud, even though that’s often what the director wants. A solid FF is enough.
@@ColinMroczko well, it’s been 20 years since I’ve had to do one. Lol I’ve had students in that situation and told them basically the same thing. Even fake it if they had to.
Nicholas Roth, You are the second person to ask me this today :-) I have no problem with the whistle (a Helmholtz Resonator) as long as the PROCESS is correct. Cheers, Greg
The subtle movement of Embouchure required to establish optimum apeture performance is more obvious in the Largo level lower register harmonic slurs. The harmonics being further apart.
I have found it difficult to determine whether or not I am on track regards the maximum efficient apeture control promoted by MTM ( Wind Works ) .
For me a simple exercise that I find helpful to clarify the difference is to
do the Low C to G harmonic slur at slow speed alternating each slur changing pitch by clamping vertically with the corners locked with changing pitch with the corners engaging inward without clamping vertically . It seems to me that one one with out the other ( vertical and lateral engagement ) isn't as efficient as both engaged , mobile , balanced and working together holding optimal apeture shape but the tendency and pitfall is to lock the corners and clamp. At least that was my approach before encountering Gregg's campaighn promoting the importance of flexibility of the apeture corners.
Easier said than done perhaps but well worth the effort in my estimation.
Good talk!
Hello Greg, been watching your videos for a while now. If someone was to ask me which of your videos to watch first, I would tell them to watch the one that you talk about mouth compression (don' remember if that's exactly what you called it). You had a glass of water to show what you where doing. For some reason, I practiced this for a while and got positive results, all your other videos made more sense after this. I was wondering if you were going to do another video on this and dig a bit more into it, and how this ties into the maaaoooo!!!
thank you!!
Here it is :-) ua-cam.com/video/pSx769PanaQ/v-deo.html Okay, I’ll do a “revisited” version. I hope you have joined the FREE WindWorks Largo Status, it’s really cool! Cheers, Greg
Hi Greg, intrigued about your method. What do you say about focusing on the ‘wedge breath’ for upper register playing? Lots of great players (Bobby Shew, Roger Ingram, Maynard, Wayne Bergeron) all say compression is created in the abdominal muscles thus moving the air faster for upper register playing. Not necessarily MORE air but faster air. Did you say not faster air? I’m a bit confused here?? Thanks
David Boa Hey, now I have to be very concise as to not be misconstrued. I am actually going to do a video based on my vast experience with the Wedge.
Firstly, all of the guys you mentioned are heroes of mine and I know Wayne, Bobby and Roger personally and respect the hell out of them.
My issue with the “Wedge”, if not administered correctly, “can” create immense negative tension. That of course is not the “intention” (see what I did there???) haha but the psychology that it can set can be troublesome when not completely understood and implemented correctly.
The “compression” factor in the body does not impact the range. The face, what I call “SHAPE” (jaw, tongue, lips, facial muscles) sets the pitch and the body (below the head) supports the volume and length of notes.
If the SHAPE is incorrect, no amount of air pressure, support, compression etc. etc. will achieve the desired result.
I have heard the opinion from very high profile players that you blow faster and the lips accomodate by tightening as you ascend. This, to a degree, might be an acceptable explanation if the notes are getting LOUDER as you ascend but definitely not if you are getting “softer”.
All that aside, the blow faster psychology is crippling people... of all standards and I am seeing on a daily basis giving lessons to high level pros. I fought my instrument for years having this same understanding.
The body is too strong and can easily corrupt an efficient playing system.
I’ll finish now by saying that the psychology “compression will help you play higher” is scientifically flawed and “can” create massive, unnecessary negative tension.
Cheers, Greg
mysterytomastery1 hi Greg, thanks for your reply. Appreciate the response. Yeah I see what you’re saying. I look forward to a video about the wedge breath. Cheers Dave
Marching bands in the US KILL chops. The “warm ups” are insane!!!
The warmups are really more of a showoff performance kind of thing than a warmup. I’d recommend warming up beforehand so you don’t need to use that as the warm up. It also helps to not always play super loud, even though that’s often what the director wants. A solid FF is enough.
@@ColinMroczko well, it’s been 20 years since I’ve had to do one. Lol I’ve had students in that situation and told them basically the same thing. Even fake it if they had to.
@@trumpetman yeah, you need to pace yourself and you’ll be fine.
@@ColinMroczko ok, your reading comprehension may not be that good. I don’t have the problem. My students do.
@@trumpetman I understand that lol. I was saying “you” generally. Not specifically about you.
I don’t know how easy it is for trumpet, but how do you feel about mouthpiece whistling
Nicholas Roth, You are the second person to ask me this today :-) I have no problem with the whistle (a Helmholtz Resonator) as long as the PROCESS is correct. Cheers, Greg