Debunking popular air Myth from University Trumpet Professors
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- Опубліковано 5 вер 2024
- ***DON'T CLICK THIS bit.ly/2OMTQmZ
Debunking popular air Myth from University Trumpet Professors
More Air!
Air on the move!
Air Flow!
Breathe from your diaphragm
You're closing off your throat
Quit pinching off the air stream
Ummmm Yup, you have heard these and more, right?
All perfect advice from D.M.A.'s for ummmm the LOW & MIDDLE REGISTERS, BUT.......
talk to me: kurt@trumpetsizzle.com
Kurt Thompson Trumpet Lessons and teacher
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folks go here :www.trumpetsizzle.com improving range is a process not a collection of watching videos. I have almost 600 videos. You can watch them all, but....YOU WILL HAVE MISSED THE PROCESS involved in my course...it's a must! You skip it? NO HIGH NOTES, NO ENDURANCE!
You are 100% correct. It is air velocity through compression, like a jet turbine or torque wrench.
exactly
Thank you for your videos Kurt.
Glad you like them
Light came on when i watched this! Thank you!
I am happy to hear that. Thanks for sharing!
Thanks a lot Kurt ! 👍🏻
Glad it helped!
I'm merely an onlooker but it seems to me the trumpet is an amplifier. simple as that. You don't really need any air 'going through' it. To my mind. You make a sound at the lips and it amplifies it like the amplification in one of those famed 'amplifying' cathedrals and whatnot, you know? There's places where they say you sit around that side and you hear clear as day those people whispering around at the other side?
That sort of thing.
There's no big wind of air bringing that sound around to you.
It's pressure waves doing some magical (to me) resonating or whatever.
Basically what I'm trying to say is we never really see examples of blasts of air being used to produce sounds, do we?
Does an air raid siren manufacture massive blasts of air?
Or think the other way - do massive air movements produce massive sound?
Like a very strong wind. That's thousands of tons of air blowing past. But it can be almost silent.
I think it's all about simply that: all wind instruments are amplifiers. Is all. Not wind tunnels.
You make the sound. It amplifies it.
Being an onlooker to one of the hardest musical instruments anyone can play is like talking to your tv screen and telling the NFL quarter back what he should have done. It doesn't mean much of anything. Your logic is all wrong here. There are many components to the sound of the trumpet with TRUMPET being the primary one. Even an idiot with no talent can blow through the trumpet and make a sound even an AMPLIFIED sound, but...
ur videos help me a lot,really,thank you kurt
glad to hear it!
very helpful, thank you
Glad you like it!
The word 'diaphragm' refers to muscles that can ONLY be used to draw air INTO the lungs - not blow air out. The idea that you can use your 'diaphragm' to push air OUT is one of the biggest myths of all in wind instrument instruction.
Exactly: the diaphragm is responsible for the first stage of compression and can be strengthened and made more elastic to increase the pressure of air before it's released to the second stage of compression and then finally the third stage of compression.
Kurt excited to begin my course with you!!
kool
I'm really liking your videos man! It makes sense. I have studied under a handful of teachers from universities and my range never improved. They all said the samething. More air.... AIR AIR AIR. It became very frustrating.
Thanks very much. More air and air flow are critical components for music below top line of the staff F. Once you are over the staff, other things become more important.
Excellent video! You can hook yourself up to a car mechanics air compressor, but if your chops won't be able to hold the proper aperture you will be worthless.I had that discussion years ago with a famous NY teacher. After he told me I was wrong, I asked him who he ever played with and when. He had no answer for me, and my first lesson was my last.You post extremely good advice here!
Exactly!
Don't forget to apply tung channels the pitch and the air doing the rest...I think that's the trick that CG explained how to achieve that...regardless, thanks for the post.
you're a savage Kurt. gg
+Steve Flores lol thank ya!
How could this only have 67 likes
Actually I am shutting down the likes and dislikes bullshit thing on my videos. Too many jealous fuck ups that CANT PLAY gettin their jollies by...leaving a DISLIKE! Now...when they want to hate my video...NOBODY will know! hehehehehehehehe
Kurt Thompson because you're challenging the old school ideas and fucking with their mind. People are so easily getting offended these days. I bet those who leave dislike don't even try once with your method
You got right
Most university professors couldn't play a double C to save their lives. Trying to learn the upper register from one of them is like taking a golf lesson from Helen Keller.
exactly. You get your D.M.A. by STUDYING....not playing your horn. So ALL THOSE hours studying means no gigs and practicing. Plus you have to pull your trousers down to your ankles and bend over...after that you turn around on your knees and polish a few knobs....when all is said and done: YOU ARE A PROFESSOR! Then you get to have the big head like you are finally SOMEBODY and you get to force all the above....on a new D.M.A. applicant...fun right? Kinda sucks since I MAY want a d.m.a. in the future....wELL, BECAUSE of my rep they may want me to lick ass too and toss salads, but....crossing my fingers
***** Ah, somebody as cynical as I am regarding the state of the university system and all its politics and boot-licking. Yeah, I bailed out of the small conservatory where I started and went to private university and got a BS in Computer Science. You can't bullshit and boot-lick your way through Calculus, and I found that quite refreshing. Still played blues gigs, and did some touring during the summers. Learned music the hard-knocks "real" way, not in some sterile environment that's more geared toward indoctrination than real learning.
Nice
Thanks
I’m still trying to work on doing compressed air to increase range based on your video. Keep it up buddy
So this approach applies to the trombone as well, correct?
+Steven Holloway It actually applies more when you play on a larger mouthpiece. At least with french horn, cornet, and trumpet players, we get help from the shallowness of the bowl butting up against our lips to keep our aperture from blowing apart: TROMBONE, EUPHONIUM, and TUBA PLAYERS do not get this luxury
There are myths in the schools of trombone playing as well. Using huge volumes of air is what is always taught in trombone pedagogy. I've found your conclusions to be true. The high range isn't about moving large volumes of air. Less air and more air compression is what is needed with a smaller aperture.
I have heard of many trumpet players who have damaged there playing because they started thinking about there "aperture" . Fast air is correct, however having a full breath is just as inportant
Yes, but it is much more complicated than how you make it sound
+Kurt Thompson just playing the devils advice there. How so?
aperture and the constriction of it results from the roll in and roll out. You can also start with a wider aperture or a more narrow aperture. Maynard's TAKE THE A TRAIN starts....the very FIRST note is a Double F#....you BETTER be concerned about aperture and roll or you wreck the opening phrase BIG TIME...There is a lot that goes into this besides a big breath and faster air thought....
+Kurt Thompson i have heard of the "roll" or something along those lines. What exactly is it? I heard of it but never really understood.
I agree there is way too much hype about air flow and it is confusing. Many of the people who teach it are good players and have efficient embouchures--- they are really trying to say let the air flow freely-- don't create tension. I believed for a long time that I needed more air for upper register, but that is just ridiculous as you point out. All the good players are using very little air in the high register and are as relaxed as is possible-- not forcing anything thru anywhere. It is exactly like singing in my mind. You don't want to force a voice at all. You work w "absence of tension" in mind and continue up the scale w less air/ more air speed= happens via physics as tongue arches and opening is smaller. I studied w Cichowicz who played very well at an early age--- used much less air than I did, but he seemed to advocate for more!? HE was actually against "stiff" air and was as gentle a player as I've ever known. Chicago Symphony=No problem w high notes. Thanks Kurt ! "use yer noggin" haha It's not a TUBA !)
yup
Hooray - someone else with an understanding of the connection between trumpet technique and singing technique.
As an accomplished singer and trumpet player (tenor solos and trumpet solos in the same Messiah performance) I tackled the natural trumpet !!!! That's when I really had to work on that connection - it is of course the arching tongue and a coincidental discovery of TCE ideas was a revelation. All documented at
< www.voicebuilder.co.uk/BLOGS/Trumpet.htm > Thanks to Kurt for significant ideas too.
Cheers Mike
William
Kurt, If you watch Dale Clevenger and Philip Myers interviews on youtube, both famous principal horn players with huge careers and huge warm tones. They both teach the technique that your horn teacher, and say the secret to keeping a warm sound in the high range (by which they mean up to high C, not the octave above) is keeping the muscles as relaxed as possible and air thick.
Probably neither of them played in a squeel range like you do (the only horn player I can think of that really specializes in that range is Pip Eastop). Do you think that the typical dark big tone required for symphonic French Horn requires the technique you are saying is bad for the extreme high range?
With massively strong players like Clevanger, he could mean to play more relaxed, yes. However, he is playing more relaxed because he has tremendous power and range. So, when he is belting out high C's to Eb for example, he might actually be somewhat relaxed because his range is so much higher. That's one reason any way.
That is helpful thanks. So do you think that practicing the extreme top range on the horn, even if it doesn't sound like a fulsome useful note will help the high A - high C range by building strength? I noticed on your roll in roll out video, you said that you actually had to roll out quite a bit to get a good high C. I can play a high C- top A pretty easily with rolled in lips (been trying since watching your video), but I can't seem to get the lips to roll out enough to get a full enough sound to be considered a "legit" note. My legit range runs out at a high B.
BTW I will sign up for your course, just have to find some breathing space to have time to get value out of it.
Roll out, Roll in are life long pursuits for many. Some do master it after a few months, some a few years, some, unfortunately....NEVER!
You must go through the process with me or with someone else who knows the process to get fantastic, permanent results. If you don't, you will keep bouncing from one technique to another....
I‘d like to put a few thoughts into this: Most Horn players, and I think Clevenger/Meyers belong in this category, play quite a bit of F-horn in the middle and lower register. They change to the shorter B-flat side in the middle and higher registers. (sometimes even to the f-alto horn at the top.)
This changing from the longer to the shorter horn will change the resistance quite a bit, demanding more air than had they stayed on the F-horn till the top which creates in itself extreme compression. I play quite a lot of historical Horn, Natural Horns, Baroque horns and F-valved French Horns, and must admit that using too much air in the higher range causes lots of problems, exactly as Kurt describes here!! (.. and I used to follow the idea of „use more air“.. till nothing came out up top!) ... Kurt describes the process beautifully here!
I practiced for about two hours yesterday and my chops got to the point where I couldn't play a high G. My top lip just wouldn't allow me to create a smaller aperture at all. It's the first time since before I marched lead with Star of Indiana that I realized my lip strength is really lacking. I have plenty of air but my embouchure just isn't strong enough to maintain an aperture.
All along I thought it was the breathing exercises we did that helped me run across the field playing high Cs and Es, but it was definitely the muscle strength around my lips that gave me the ability to maintain the correct aperture. Should be common sense, but freaking air strength is pounded in our heads too much. That's why I keep telling my son it's all about practicing the fundamentals. Strengthen those muscles.
You are definitely on the right track!
What years did you march star?
Super brilliant advice Kurt, love your knowledge, can't wait to experiment on my Old Besson Cornet I know it's not quite the same as a trumpet but the basics are the same!.Cheers from Ireland
Glad to be of help Ken and Happy New Year over in Ireland!
What's up with all the university hate ? :)
who knows
They don't teach you what you really need to be successful as a performer, on any level, pro or otherwise.