Using The "Peel-Off" Technique for Trumpet
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- Опубліковано 16 тра 2019
- A great little exercise that Vince DiMartino showed me many years ago. I think its a valuable way to check the support muscles of the embouchure and to ensure you are playing with good form.
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I swear, whenever I start to feel like I have embouchure issues and my chops aren't responding the way I'd like them to, coming back to Charlie's videos always helps me get back on track. Thank you Charlie!!!
After trying this "Peel Off" technique I found I was able to minimize mouthpiece pressure and effortlessly slur up 2 octaves to a G above the G on top of the staff. Thanks for posting this excellent video! :-)
Thank you so much, Charlie. I'm studying the trumpet on my own just as a hobby and you're doing a great job explaining basics.
Always great to hear and see from you Charlie.
Charlie
Just ‘discovered’ your videos, thank you so much!
The lightbulbs going on in my head could light up London.
I’ve been struggling with this concept for years, I wish you’d been around back in the 70’s.
The clarity in your lessons is remarkable.
All power to you, keep going!
Thank you, Charlie. Very helpful, as is all of your videos.
Cheers from London, I’m self teaching until I reach my ceiling and Charlie you’ve been of massive assistance in this journey so far, thank you 🙏🏾
Thank you for taking your time to share this :)
Must of the “no believers” are so wrong that don’t get the main point of this INCREDIBLE SHARE and the fact of this approach it’s in fact “three in one” and THIS CAN REALLY HELP ANYONE. Balance lips-mouthpiece-horn in one it’s the goal. This not only relieves lip and mouthpiece tension as well as open the sound. Playing trumpet isn’t just air, isn’t just buzzing… but Charlie is right, it’s balance. Lips Form, makes a Hermetic Seal and with this “peel off” the air move out continuously in all register. Yes, all register, because the main issue it’s always keep floating efficiency on highs with the same set. Without right approach we can not stay in shape. Thank you Charlie Porter 👏
Great tip, Charlie, as ever! Keep up the good work!
Great post Charlie! Many thanks for the tips! Vinny is a certainly a great trumpet player and teacher!
Man Charlie I’m glad I found your videos! I’ve had four different professional trumpet instructors and none of them emphasized the importance of these form issues and I learned to okay high by pressing- I’m unlearning all this now and looking forward to a good result- also, love your music and enjoy all your albums! Thanks for the knowledge and the music :)
Yahoo! Great to see a new video. Always practical. Never condescending. Super relevant. Keep the vids coming. Huge thank you.
Thanks for the video Charlie! I like this technique. It really aligns my lips and jaw and makes my playing more efficient.
At last, you're back! Great information and as always lots to think about and work on. I have partial lip paralysis on one side of my mouth due to a wisdom tooth botched operation, so I can't buzz off the instrument. However, my muscle memory allows me to do this exercise only when releasing the instrument during playing. I am excited now as I believe it can only build my technic. Thank you.
Thank you, my teacher has been trying to get me to properly lip buzz to help with my slurring flexibility and this helped a lot! 😄
Man, i got say you just change my play. I've never had this informations and i be playing the trumpet in the wrong way for 4 years. Thank so much, all your videos converge to the same idea and this just make me have the control off the trumpet in a way i never had in all this time.
Awesome reminder Charlie! This has been a huge challenge for me lately. Without me knowing I have depended on the pressure of the mouthpiece and while I think I’ve been able to achieve a great sound playing that way I have now hit that lid in my playing and I am now adjusting to have good form. Such a tough one to deal with but hoping to see the benefits soon!
Thanks! This is the best explanation of the subject that I've heard. (Both the how and the why.) I'm going to experiment with it, and see if I can add the exercise to my arsenal of tools as a trumpet teacher.
Grazie Porter!!!
Hi Charlie, I’ve been a drummer and now sadly unable to play due to a hand reconstruction. So at 63yo I’ve bought my first horn. I’ve watched lots of your videos over the last couple of months and they have been such a GREAT help. So much work to do, but your tips and basics are immeasurable for a complete novice as well as advanced players. Great work from a musician I so respect. Big Thanks
Thanks a lot Charlie, your videos have been (and still are) very helpful, please don't stop!! If I could make a suggestion it would be great to hear you talk about improsiational tools/tips/techniques etc. Specifically for trumpet, if it's not asking too much, thanks again!!
THANKS CHARLIE. Every little bit helps
thank you - so helpful and concise
Thank's charlie, i'll try this before my next practice.
This is amazing! I had no idea I was so relaxed! Thanks!
Great stuff! About 20 years ago I went to a Brass Festival in Battle Creek, Michigan sponsored by the Kellogg Foundation. At the time Vince DeMartino was playing with the Brass Band of Battle Creek, which was the featured headliner at the festival. Being a great soloist, many of the groups that performed asked Vince to Solo with them. He played for 8 hours and not easy stuff. He finished the night with a Double A at FFFF! I was literally blown away by his endurance. For that alone I am a believer in this technique
Enjoyed this, Charlie. I like the idea of using this type of free buzzing as a tool to check form.
Happy you’r back :-) Charlie.
To all beginners/intermediate players who watch this video. It’s good advice but remember this: when you do lip buzzing, you should be going for that nice strong buzz Charlie talks about, when you buzz the mouthpiece, same, go for that big buzz, BUT when you play the trumpet you should not be buzzing your lips on purpose inside the mouthpiece. This will create a very tight tone. Lip buzzing is a separate technique than trumpet playing and you should not be trying to “buzz” into the mouthpiece when playing. The sound the trumpet mask comes from your lips vibrating inside the mouthpiece on their own and from the air flow streaming through the instrument. Just a quick reminder.
Nice vid Charlie. Vince is a great teacher and player.
You're making a good point.
I just want to make clear for others that you actually can't physically and literally buzz your lips in terms of the physical movement. You're totally right that the air is doing the job here.
However, Charlie talks about the correlation between lip buzzing and playing the trumpet. This is undeniable. It's just matter of adjusting the setting, but in fact, the concepts behind lip and mouthpiece buzzing and playing the horn (also other brasswind instruments) are the exact same ones.
Thus, lip buzzing is definitely NOT a "separate technique" here.
Apart from that, you're totally right. If we sound very good with our lips and on the mouthpieces, chances are that we are having good form as well.
Cheers,
Jens
Well, I wouldn’t say it’s an all together different technique. We have absolute scientifically proven evidence to support that the lips do in fact vibrate when we play...we cannot dispute this.
However, what must be understood is that there is correlation between the pitch you buzz and how much higher it will be on the trumpet because of the smaller vibrational area of the mpc and the resistance of the horn. This means that playing a middle “g” should feel like buzzing a low “Bb” and not like buzzing a middle “g”. I explain this in the video, but many people simply persist on believing that they are just blowing air or that they have to buzz the same pitch.
It is not a different technique...otherwise this exercise would be a complete waste of time. We buzz when we play, we just don’t buzz as high as we play...and the higher we play the larger the different becomes in the correlation.
As someone who has studied with many famous teachers, some of whom don’t advocate buzzing, i we’ll understand where they are coming from. However, the results when done correctly, speak for themselves. Something needs to vibrate in order to make sound...thinking that simply blowing air is enough to accomplish this is akin to believing that some magical force is creating the vibration...nope, it’s your lips.
Just include the correlation of resistance into your equation and do not buzz for too long and make sure you are going for good sound. The point is to play with form supporting this vibration and not just excessive mouthpiece pressure.
I actually think this method encourages far more tension than necessary to play. Air passing through the lips, the resistance in the leadpipe (or any tube, for that matter), is what causes the lips to 'buzz' rather than actively buzzing. Buzzing, in itself, is an isometric exercise and should be treated as such. It have benefits to trumpet playing, not necessarily correlations.
Resource:
www.physics.usyd.edu.au/teach_res/hsp/sp/mod31/m31_pipesA.htm
Brae Grimes sorry, but I believe you are mistaken. If you look up the word isometric you’ll clearly see that buzzing any two notes or more is clearly not isometric, since there is a movement of muscles and contraction taking place and the word isometric clearly denotes that no change of muscular contraction happens. Only buzzing one long tone could be considered isometric, as would be playing a single long tone on trumpet.
You are also mistaken about the horn’s resistance being the only thing that causes the lips to buzz. If your stance is that it causes too much tension to use proper form then you are most likely not buzzing in a relaxed manner but instead over muscling the tension. Air that’s to rich in Oxygen can kill you but to say that Oxygen isn’t good to breathe would be a false statement. Can’t think of a better analogy, but hopefully you get the point.
This is not a black and white issue. Your reasoning is why there is a debate. You see lip buzzing as is something that causes excess tension, when in reality you are most likely using too much pressure yourself when ascending and might actually benefit from learning to buzz with the proper amount of resistance.
Also, believe it or not, you are most likely confusing the pressure of the mouthpiece against the lips and the resistance of the horn. If you press enough, the pressure will flatten down lips and make them come closer together.
I will agree that blowing air only and pressing the lips onto the mouthpiece will yield a better sound than over muscling the lips. However they are both not the best route.
Also, your PDF has a very poor explanation of how brass instruments work. If you want a better explanation from a physics/scientific point of view, I’d be happy to provide one.
Also, watch this video of the inside of the lips while playing to clearly see them vibrating (buzzing) and contracting from one note to the next: ua-cam.com/video/IvYmX-frcBI/v-deo.html
Great advice.... Thanks Charlie... 😃 🎺... Greetings from Manchester...
Wow, I wish I'd tried this years ago! I peeled off and heard nothing but air. My lips weren't buzzing on their own. I'm 55 and in the midst of my 3rd odyssey to playing trumpet. Each time I've gotten discouraged when endurance and range didn't improve after regular practice over the course of months and years. What Charlie describes from minutes 3:07-3:32 describes exactly my experience. Between this, lip buzzing, and CP's other great videos, I have a new path to explore on my journey to competent trumpet playing. Thank you Charlie!!!
@@jazzdorefree194 Slowly. I'm thinking I need lessons but the trick is to find someone who knows how to work on this sort of thing. Past instructors just had me playing exercises or songs with no comment about correct embouchure.
@@jazzdorefree194 Excellent points. I do notice that Charlie and many others always make the point that it comes back to how one sounds when they play. That through it all, we should seek to sound beautiful. Good luck with your playing and composing!
Stay longer Charlie! Thank you!
Thanks for the great tip! :)
Well explained, thanks a lot!
I wasn’t able to do it at first, but after a few tries I was just barely getting it. Thank you so much Charlie
Cool! Thanks very much.
This video is very helpfull for me. Merci!!!
He's BACK
I didnt even know I have been doing this for 5 years thanks for this video
I love Vince!!
dude. awesome video
Oh yay! Something new to play with :)
Cheers from Brasil!!!
Dude!! You're changing my F* life. Thanks for that.
Wish someone taught me this sixty one years ago. Thanks. Hope some younger players take it seriously.
Hey Charlie!!!
Good Stuff
I often wonder when players speak of resistance if they are thinking more of resonance, because I think the sound pressure waves in the horn reinforce the lip motion and support it at the resonances. I think most agree the air flow rate going into the horn decreases as you ascend in pitch. Physically then, the back-pressure (in the mp) due to airflow alone should reduce as you ascend in pitch. It's possible the lips are more sensitive to back-pressure at high pitch even though it is less, idk. Just thinking that when people say horn back-pressure is doing something it may not be so physically correct, not that its super important but we all try to understand the horn in many different ways. I think the trumpet as an acoustic system is very complex due to the varying stiffness and mass of the lips involved I think for me the best advice is often non-science-y and based on sensations more or less. Great vids, thank you!
thank you
great video
Never heard of Vince DiMartino, but will check him out. thank you for sharing your insight !
I would start with his NTC class from awhile ago, its on youtube
Vince is one of the most influential trumpet educators alive today.
I own a Shires DiMartino trumpet. A really nice horn. 😊
Vinny D kicks ass!! I was in an honor district band where he was the guess soloist. :)
It sucks that I've been playing trumpet wrong for so long but I'm so glad that I know how to fix this!
Thanks
Great!!!
Niiiiceeee, Thanks
I also think it has something to do with airspeed. You can't get a free buzz without enough airspeed (and, of course, proper embouchure formation) but you can get a sound with the mouthpiece on. It's not a good sound but it works. Lots of young players do this because it works but then can't get past it when things get rangy or more difficult. Also, the tongue makes a difference, too. A firm tongue will yield an airy sound and limit range while a soft tongue will allow a more full sound without limiting range. Lots of things to consider (made harder by the fact that we can't see inside the mouth!) but this is a solid tip.
Welcome charlie.😊
Hi Charlie! Great video, as always :D can I just ask what equipment you used to film the video? Thanks
thanks, i'm studing trumpet for first tiime.
Very informative! I saw a video of a trombone player named Chris Crenshaw demonstrate this same exercise in a video with the Jazz at Lincoln Center orchestra.
Hey, can you give me a link please?
Thanks. Yes, Chris is a great player...since we are buzzing in any brass instrument, this exercise can help all brass players become more independent from their overuse of pressure.
Mickael Pili I believe it was one of the Essentially Ellington Q and As. maybe 2017. But Chris also had videos on trombone technique and warm up you could look up.
Mickael Pili ua-cam.com/video/-N7Z2Qey4xI/v-deo.html here is the link to the video of Chris demonstrating this same technique. he does it around the 55 minutes mark.
This is really friggen interesting
Hey Charlie I don't know if you remember me .I used to take lessons on Skype with you learned about lip and mouthpiece buzzing from you.I just couldn't get the hang of getting the computer to work correctly when we had lessons .But I do thank you for the lessons .Anthony Lenzo
Anthony Lenzo of course Anthony! Hope you are doing well, man. Been a long time!
@@CharliePorter Nice that you remembered me , you looklike your doing great .I always check out your videos.Be well and happy you and family.
Ight so you’re tellin me I’ve been playing my trumpet wrong for 6 years?
Damn dude that's tough :(
Happens to the best of ‘em, just hit the practice room with a positive mindset and you’ll see improvement in no time
That is not sure at all
Same here :(
probably
I was shown this exercise years ago from Lin Biviano. He called it the buzz play buzz exercise. Lin always had me do it on a second line G. I believe the exercise came from Dr. Reinhardt but I could be wrong.
Chief Kibitzer I can imagine that trumpeters have been doing this exercise since the days of Bach and beyond...there are no limits to the geekdom of trumpeters! I just heard it first from Vince.
oh wow i didn't know that my lips not buzzing without mouthpiece was bad form, thanks for this. to note, i've been having trouble with endurance for awhile and difficulty with high register.
Rockjawz just trying to show the correlation between buzzing and playing. I seriously wouldn’t over think it if you have a nice sound. Good sound is always the best approach. If your sound is tight or if you find pressure to be your only ally when ascending then relaxed buzzing with good form could be a great addition to your practice.
This is very interesting. I believe this the opposite of what you should do. I am not a trumpet play, but I am a trombone player. Joe Alessi, one of the best trombonists of our time believes that when you take the mouthpiece of there should be no buzz. We create the embouchure and provide the air and the mouthpiece creates the buzz
Hi Charlie, thx for the great posts, can I ask the trumpet you are using, I never see it anywhere...
Great video Charlie. I've been teaching this technique since 2001. This has been perhaps the most useful technique in helping pressure players consistently form the habit of controlling the embouchure and aperture rather than relying on the shape of the mouthpiece rim and teeth. Flexibility, tone and endurance can be evolved to powerhouse status using this one exercise. This is discussed extensively in my Trumpet Momentum classes. Thanks again for sharing your knowledge and experience!
Hey. Very nice. I have a question about firming the lips against the teeth. It obviously works for you but for me I have to push away from my teeth as I had issues over 20 years ago with pain in my teeth from excess pressure. Anytime I find myself getting closer to my teeth sound cuts off unless I push in. What am I not understanding from what you are doing?
Hi Charlie, im Nicolás from Argentina, i have one cuestion.... The "peel-off" technique, do you use it in all the complete register of the trumpet? or what do you recomend? sorry my bad english! and thaks for your time and generosity
Great to have you back!
Hmmm, that beard and cap in front of The White House....are you turning into Saul Berenson (Homeland)? 😂🤣😂🎺
I have a pretty cool recording of a guest solo performance Vince did at Syracuse University if you are interested.
@Charlie Porter how does work for high notes like C and above..... should there be immediate response in vibration as there is a smaller gap and more air pressure?!?!
I didn’t know why it was so hard to play above the staff with this though I know now what I was doing wrong
great instructions! I have a question: can or should you be able to do this also in the higher register? I mean I can do this on lower notes but if I a play a g above the staff and take away the trumpet then not. Should I also be able to buzz up there and even higher?
Great question! Very curious to hear a reply.
In general, you totally should be able to buzz up to a g above the staff. However, of course it is way more difficult than to buzz a low c.
What it comes down to is the application and use of these concepts so that you’re actually using good form, especially in the upper register.
so, i suggest that you work on lip buzzing in general. With regard to this exercise, doing this on a middle c would be something to strive for.
Hope this helps.
Cheers
So, if i'm not wrong, any note played should keep the buzzing if i retire the trumpet/mouthpiece? I find that if i do this, my sound is more vibrating and less clear.
Adam Rappa was teaching about buzzing. I saw him blowing just air when he remove the mouthpiece🎺...he said that's what supposed to happen. Not a buzz just a hiss(air)🤔
Charlie does this method also apply to a French horn or is it different
How do you go from bad lip buzzing at 5:52 to proper lip buzzing at 5:48? My lip buzzing sounds like the bad lip buzzing.
Beginner here(I played when young but wrong it seems)
Ok so what if you can’t lip buzz when your just starting out? I haven’t seen anyone address this. I can do the bad form of lip buzzing, does it come later on if so how?
Would you say some people are more naturally able to lip buzz efficiently and thus play more efficiently? I'm a euphonium player actually, but I struggle very much with free buzzing. I also use a fair amount of pressure. When I free buzz the G you did in the video, my top lip comes over my bottom lip. And even higher, it covers it more. Do you think I'm doing anything wrong in this, or is my natural setup just a little different?
I'm sure that anatomy plays a role to a certain extent.
However, if your bottom lip is curling under the top lip, it's very likely that you lack form. The curling under of the bottom lip is problaby a symptom of your support muscles not being able to hold the form, i.e. not being strong enough or not being sensitive to this movement.
I had the same problem and Charlie helped me solve it. Try to implement lip buzzing in a systematic manner and don't overdo it at the beginning. Start at a lower note so that you can rely on form. Even if it's way lower, doesn't matter. It's important to get the concept covered.
Practice with a visualizer going from a large aperture to a small aperture using your support muscles. Use a mirror to check. We can't rely on our feeling since our habits trick us and don't want us to escape out of the comfort zone.
Do it as often as you can throughout your day. You can even do it when walking around or waiting at the bus stop.
Make sure that the red of the lips stays always the same and try to get the most beautiful sound possible.
Consistency is key. It does not have to be for hours a day. That's not the point. But you have to do it every single day, especially when trying to overcome an old habit.
You'll see that you'll make great progress within a short period of time. However, be aware that progress is hardly visible from day to day. After about 3 months you should have overcome the habit of curling the lip under.
Good luck. If you need help, feel free to contact me. I can also highly recommend to book a lesson with Charlie. There's no better way to spend these bucks...
Cheers,
Jens
is it beneficial to do the peel of on high range?
Wait how do you do that buzzing thing help
I tried this and noticed that I couldn’t get the buzz centered. It seems to only want to buzz on the right side of my lips and is only centered when the mouthpiece applies pressure. Do I just need to practice and build the muscles?
Okay, that's really hard. Wow. Guess I've got work to do!
It's starting to work. I slowly reduce mouthpiece pressure, and when the buzz turns to a blow, I increase the muscle firmness/compression to bring back the buzz. Of course, I can only pull the mouthpiece so far away, not being able to buzz without the mouthpiece yet.
I also test pressure on the upper vs. lower lip to find an optimum, keeping as little pressure on the upper as possible.
My point is that even without being able to remove the mouthpiece completely, I'm getting a lot out of this exercise. Thanks, Charlie!
What brand is that trumpet ? It looks like a Monette
Does this work on trombone?
I’ve met Vince
What kind of trumpet is that?
What trumpet is that?
It has three buttons and two slides
Does it in a way contradict the 4 stetp embouchure? I mean, if in the four steps you set up your lips to be stretched inside the mouthpiece, when you peel off this part of the lips will be more relaxed now
It does not contradict at all. I mean, we're doing the the four-step-setup to set up the lips with the readiness to vibrate. See it as a prerequisite to actually play. If we don't set up with enough space, we can even support in the correct manner, but eventually the lips will touch which will lead to disturbances in the sound. The peel-off exercise is an exercise to check whether you're playing with form or not. The point here is that you are able to use form without having the mouthpiece holding your lips together. When you just normally set up to play, then, of course, use the four steps to set up. Just make sure you're using good form. Lip buzzing will also help to develop good form and to sensitise yourself for actually relying on form and not on mouthpiece pressure or any other compensatory strategy, e.g. using more air when ascending etc.
Hope this helps!
@@jens_trumpet Thanks I understand what you say. It doesn't respond what I say but nevertheless, I understood after I comment that, that when you peel off the lips get a little bit relaxed and the note change like Charlie explain in the video. I just didn't understood it right away because I wasn't blowing enough to keep the lips vibrating and it ended helping a lot to understand better what he was talking about. Thanks for your explanation, it was helpful too!
I'm glad it has helped!
I read your comment again and I now see what you're after, I think.
I'd say, depending on your lip size etc., yes, you'd have to stretch or let's say rather flatten the lips when you set up like that. Make sure that the corners stay neutral.
However, when lip buzzing this should be the exact same feeling. In fact, you shouldn't relax more as you peel-off the mouthpiece. By doing so, just make sure to keep the same setting and airflow. You should then get this correlation of a major sixth down. The interval gets wider about the staff as the tongue comes more into play. At least in my experience. So, don't obsess with this exact correlation, but in the mid range it should be about a sixth.
To accomplish the same pitch after the peel-off you'd have to work more, of course.
The point still is that you use the exact form with the lips alone. If you're too relaxed after the peel-off, chances are that you're not using enough good form. But it's hard to say what you're doing anyway. I can highly recommend that you just book a lesson with Charlie. It's worth it.
@@jens_trumpet I'm really interested in what Charlie have to say about that, that's why I'm gonna book a lesson as son as I feel that worked enough with this concepts. Thanks again
You're welcome!
Good luck with all that. It'll be a good investment in your trumpet playing.
This video was very eye opening to me. I am an intermediate player that has been making a lot of progress, but with stagnant range ability. I have tried a multitude of things to overcome this but have found no success. I believe I am using the mouthpiece as a crutch, as Charlie talks about in the video.
I attempted to try the exercise, but I can't buzz anything above a low C. The low C is a strain to buzz for, and I don't believe I am buzzing with good form.
How can I assure I am buzzing with good form and buzz with enough range for the exercise?
To start off with, it's not about range in the first place.
If you sound good and have a nice, relaxed and open feeling, you're problaby doing the right thing. Also check out his video on lip buzzing. This might help you out.
Cheers!
Remember, you don’t need to be buzzing the same pitch you are playing...this takes more work than simply playing the pitch. The correlation will be something like a major sixth. If your sound is good but when you pull off the mouthpiece there is no buzz at all, then you are mostly using the mouthpiece to hold the lips together, which can work fine in the middle and low registers, but it can lead to bad habits when ascending. So, even if you have the feeling of buzzing a middle C when you are playing in general, then you won’t have more or less the feeling of supporting with good form. The exercise simply makes more use of that form by making the player match the pitches between buzzing and playing. Don’t be in a rush to develop range with the buzz and don’t lip buzz for too long at a time.
One more thing...to get that good sounding buzz on the low C, make sure you are pulling the lips away enough to create the space they need to vibrate well. To understand this better, I recommend watching the four step approach to embouchure set-up video that I made.
"The buzzers" might very well be the more advantaged trumpet players. Sadly, my lips are not made for it and start to irritate immediately doing it. I also can't whistle much. i was never considered a bad trumpet player and I sound very full and big, be it on the dark side.I do have run into problems fast comparing to many "not very musical amateurs" when blowing very loud long time like in noisy environments outside (sports, festivities). Perhaps the non-buzzers are suited for sensitive classical work and have less possibilities.
Am I right in feeling that this is quite a taxing exercise? After five minutes of peeling and buzzing, of course playing higher and higher notes, my embouchure is getting pretty tired. Am I doing it wrong or is it supposed to be such a tough workout for the muscles? Thanks for all the great videos!
man good advice but i believe we should avoid using to much of the facial muscle and putting to much resonance on the muscles and on the buzz , i believe everything comes with the airflow and later on with the energy on the lips created by airflow .
Florin Precup I can attest to that. Overuse of those muscles will lead to injury and you’ll have to start from scratch. That happened to me and the recovery process was very draining.
Tyler J. Holt well, a little buzzing never hurt me or Clark Terry ;) Being scared of lip buzzing is irrational. You are going to vibrate the lips to varying degrees while you play, whether you like it or not. The idea is not to over-muscle things with the face, but rather to take some of the energy being applied through arm pressure in the higher ranges and redirect it to supporting the face muscles properly and as a result grow stronger as a trumpeter. Muscles are going to activate one way or another up there, whether they are in your face or arms (as well as your abs). The point is having balance...I never recommend playing out of balance and over muscling, which CAN hurt you!
Charlie Porter that is very true! Thank you! When I was taking pedagogy lessons in grad school, I was so fixated on the physical aspect of it, that I inadvertently was forcing those concepts and ended up injuring myself. I’ve been focusing on playing in a balanced manner since then. Your videos on finding natural jaw position as well embouchure have been helping me a lot!
Side note: Gabriel DiMartino was my professor in grad school 😊
Omg he grew a beard 🧔🏻 🎺
I thought we don’t actually buzz our lips when play?
Jeepers, I wish I could have seen you 50 years ago, is it too late to start again?