You can take lessons with Jason with our Trumpet Momentum Subscription Series of videos here on UA-cam. Visit www.whyharrelson.com/trumpet-momentum.html to sign up.
I have been fascinated by spinning tops and the like for a long time. This is why I became a supporter of your Kickstarter Campaign. You being a trumpet player was interesting but of minor importance - until I saw this video. Now, I am a theoretical mathematician by profession but I am also a classical singer. And what you are saying about the trumpet equally applies to singing ... Balance - Contact Point - Momentum. So it seems, we have found yet another connection of mathematics and music - this time from the opposite direction. I hope to hear more of this!
Yes, the physics apply to all musical instruments including voice. I was originally a math major in college before switching to trumpet performance. Thank you for your support Patrick!
Jason can you provide the name of the type of meditation that you practice that helps you to achieve your goals on trumpet? Also, how do you feel that the meditation helps you toward that end of achieving your playing goals quickly? I find it intriguing and would certainly like to add that to my regimen. We're always looking for things that can help, right? It's something that I've never gotten into myself and I'd like to try it.
Very interesting! I have found that leadpipe buzzing has helped me achieve better balance of chops, tongue level, and air like no other exercise. If done correctly, this can result in huge benefit for the longterm despite it being very difficult at first.
Leadpipe buzzing does not produce the correct matching impedance meaning it only works for a few notes. There are other methods that are just as effective, but on every note. Check out my blog at www.whyharrelson.com to discover why leadpipe buzzing is missing some important factors.
Thank you for your reply. I have a follow up question. When I buzz the leadpipe, first space F pops out nice and easy since this matches the resonant frequency of the leadpipe. Even an octave above the F pops out fairly easy as well. However, playing a F major scale up an octave is very difficult despite the "endpoints" being relatively easy. Now, with practice, I have been able to train my chops, tongue level, and air such that I can play this F major scale. I have noticed that over time, my fluidity on the actual horn has improved greatly as a result of being able to play a scale on a leadpipe. So what I noticed is that being able to play an F major scale on the leadpipe, I've had to 1) reduce mouthpiece pressure; 2) firm the corners, 3) control the tongue level; and 4) control the air speed. So, in a way, the firming of the corner part (along with reduced pressure) allows me to develop a very small aperture and the endurance to maintain it which is necessary to play in the upper register, and when I do it on the leadpipe, I don't have to deal with the excessive pressure that most people apply when they try to develop their range on the actual horn. I agree that simply playing the naturally resonating notes on a leadpipe will probably confer little benefit, but I think being able to play a scale on the leadpipe will definitely help despite it being very frustrating at first. That said, wouldn't you agree that this approach to leadpipe buzzing is actually effective in developing range, aperture control, and so forth on the horn? If there is a better way than playing a scale on the leadpipe, I'm willing to remove leadpipe buzzing from my routine and adopt that since I'm open to better approaches.
Of course, leadpipe buzzing the natural partials is helpful in building the embouchure. However, the MiniBell is designed to teach the same thing while offering the actual partials of the trumpet or many more, which in turn speeds up the process and improves accuracy. Another approach is to use the exercise offered in my Trumpet Momentum approach to brass playing in my blog that incorporates half buzzing and half playing directly on the trumpet.
Thanks for your reply. I will look into the MiniBell. Yes, I definitely agree about half buzzing/playing as an effective way to build chops as well! Look forward to more of your "Momentum" series and look forward to trying one of your horns one day!
Jason, I loved these videos. I did not see the link to the momentum device and would be interested in any of those books you mention on the first video. How can one check out those items? A million thank you's to your hard work, your honesty and the time of sharing your knowledge.
Here's the Kickstarter link: www.kickstarter.com/projects/momentum1/momentum-worlds-longest-and-fastest-spinning-top?ref=nav_search And here's the link to my Trumpet Momentum blog which will announce the new book this summer: www.whyharrelson.com/jasons-blog
What on earth happened to you 4 years ago to make you forget everything? Did you have a stroke or something like that, could you walk, talk, drive etc. or did you have to learn to do all that stuff again? Please tell. Most intriguing !
You can take lessons with Jason with our Trumpet Momentum Subscription Series of videos here on UA-cam. Visit www.whyharrelson.com/trumpet-momentum.html to sign up.
the law of motion and cause and effect. Great way to make your point.
Very well explained Jason ! Thank you for sharing with all of us .
I have been fascinated by spinning tops and the like for a long time. This is why I became a supporter of your Kickstarter Campaign. You being a trumpet player was interesting but of minor importance - until I saw this video.
Now, I am a theoretical mathematician by profession but I am also a classical singer. And what you are saying about the trumpet equally applies to singing ... Balance - Contact Point - Momentum.
So it seems, we have found yet another connection of mathematics and music - this time from the opposite direction.
I hope to hear more of this!
Yes, the physics apply to all musical instruments including voice. I was originally a math major in college before switching to trumpet performance. Thank you for your support Patrick!
Jason can you provide the name of the type of meditation that you practice that helps you to achieve your goals on trumpet? Also, how do you feel that the meditation helps you toward that end of achieving your playing goals quickly? I find it intriguing and would certainly like to add that to my regimen. We're always looking for things that can help, right? It's something that I've never gotten into myself and I'd like to try it.
Yes, this is discussed in detail in my Trumpet Momentum video series here on UA-cam.
Very interesting! I have found that leadpipe buzzing has helped me achieve better balance of chops, tongue level, and air like no other exercise. If done correctly, this can result in huge benefit for the longterm despite it being very difficult at first.
Leadpipe buzzing does not produce the correct matching impedance meaning it only works for a few notes. There are other methods that are just as effective, but on every note. Check out my blog at www.whyharrelson.com to discover why leadpipe buzzing is missing some important factors.
Thank you for your reply. I have a follow up question.
When I buzz the leadpipe, first space F pops out nice and easy since this matches the resonant frequency of the leadpipe. Even an octave above the F pops out fairly easy as well. However, playing a F major scale up an octave is very difficult despite the "endpoints" being relatively easy. Now, with practice, I have been able to train my chops, tongue level, and air such that I can play this F major scale. I have noticed that over time, my fluidity on the actual horn has improved greatly as a result of being able to play a scale on a leadpipe.
So what I noticed is that being able to play an F major scale on the leadpipe, I've had to 1) reduce mouthpiece pressure; 2) firm the corners, 3) control the tongue level; and 4) control the air speed. So, in a way, the firming of the corner part (along with reduced pressure) allows me to develop a very small aperture and the endurance to maintain it which is necessary to play in the upper register, and when I do it on the leadpipe, I don't have to deal with the excessive pressure that most people apply when they try to develop their range on the actual horn.
I agree that simply playing the naturally resonating notes on a leadpipe will probably confer little benefit, but I think being able to play a scale on the leadpipe will definitely help despite it being very frustrating at first.
That said, wouldn't you agree that this approach to leadpipe buzzing is actually effective in developing range, aperture control, and so forth on the horn? If there is a better way than playing a scale on the leadpipe, I'm willing to remove leadpipe buzzing from my routine and adopt that since I'm open to better approaches.
Of course, leadpipe buzzing the natural partials is helpful in building the embouchure. However, the MiniBell is designed to teach the same thing while offering the actual partials of the trumpet or many more, which in turn speeds up the process and improves accuracy. Another approach is to use the exercise offered in my Trumpet Momentum approach to brass playing in my blog that incorporates half buzzing and half playing directly on the trumpet.
Thanks for your reply.
I will look into the MiniBell. Yes, I definitely agree about half buzzing/playing as an effective way to build chops as well! Look forward to more of your "Momentum" series and look forward to trying one of your horns one day!
What is this MiniBell you mention?
Jason, I loved these videos. I did not see the link to the momentum device and would be interested in any of those books you mention on the first video. How can one check out those items? A million thank you's to your hard work, your honesty and the time of sharing your knowledge.
Here's the Kickstarter link: www.kickstarter.com/projects/momentum1/momentum-worlds-longest-and-fastest-spinning-top?ref=nav_search
And here's the link to my Trumpet Momentum blog which will announce the new book this summer: www.whyharrelson.com/jasons-blog
What on earth happened to you 4 years ago to make you forget everything? Did you have a stroke or something like that, could you walk, talk, drive etc. or did you have to learn to do all that stuff again? Please tell. Most intriguing !
I had a major heart attack and stroke due to serious birth defects in my heart and brain.