Lip Slurs & Weekend Warriors | "W for Whistle" | Trumpet A-Z, S01E23
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- Опубліковано 8 лип 2024
- In this episode of Trumpet A-Z, "W for Whistle", Bryan Davis shares tips for improving flexibility and embouchure stability, as well as sharing advice for trumpet players whose practice time is limited by a day job and other responsibilities. This video also concludes the explanation of the 3 compressions.
Catch up on the entire #TrumpetAtoZ series, so far, at: • Trumpet A-Z with Bryan... . New episodes are added every Friday.
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Question or other feedback? Let's hear them... Just don't say anything you wouldn't say to your grandmother - I'm very sensitive! ;-)
Bryan Davis - Airflow Music Hey Bryan! What’s the difference between blowing more are (air volume) and compressing the air in the core? My teacher has tired to get me to “move the air more” but I can’t seem to compress the air without getting louder. Any advice on how to practice compressing the air without actually getting louder? Thanks, from an aspiring Trombone player.
You nailed this one bro! This made a lot of sense to me. The less we can think about motor functions the better. Let the brain handle all that stuff and all we need to do is sing or whistle. Appreciate all you are doing!! Keep it up, man!!
Glad you enjoyed it! Thanks for watching.
I only discovered Airflow Music and your videos recently and have just finished watching Trumpet A to Z. Thank you for your excellent, concise, clear explanations and tips. I retired this year and returned to serious trumpet practicing after decades of only about 5-10 minutes per day of mouthpiece work. I found your videos on aperture, breath support, and tongue level especially helpful. If only someone had told me those things many years ago in high school and college! I knew that I had a problem with too much mouthpiece pressure, but I never realized that it was caused by overblowing, which I only recently even became aware that I was doing. Nor did I have any idea how to “blow less air faster” as many sources state simply as if it were the easiest thing in the world. Only your video’s explanation (“V for Volume”) of what to do with the the airflow while ascending into the upper register demonstrated how to actually do it. Similarly, many other players advise various tongue level patterns that have not seemed natural to me. Your advice about “whistling” (“W for Whistle”) has solved that problem for me. And, while it has not been a magical transformation, I can now already, in a few days, comfortably play several notes higher and can do it for much longer. I have even noticed spillover effect in my airflow when I am practicing Cichowicz Flow Studies. Thank you!
I hope sometime this year to arrange a Skype lesson if you are still doing them. For now, I will “go practice”.
Thank you for your most thorough review! I’m so glad that the videos have been helpful. I’m absolutely still teaching both online and off-. I’ll be more than happy to schedule something when you’re ready.
Legend Bryan, Thanks as always!
My pleasure!
Brian Davis is a very sharp cookie.
Thanks for watching. I'm glad you think so!
Hi Bryan,
i think that your concept of whistling applied to slurs is absolutely amazing and simple. I applied it yesterday and my slurs became smooth and clear up to high E in no time. Thank you again for your videos, they really do make playing trumpet more fun 😊 I'm looking forward to next exercise of the week 😊
You're very welcome. I'm happy to be helping people! Thanks for watching.
For this one I would give many more thumbs up than I have!
Thank you! Glad you enjoyed it.
Hey Bryan, I find it interesting to hear how your articulation changes when you move to the DHC. Compared to the other registers, the attacks are cleaner and you hear a distinct pop at the end of each articulation (which is not the case at your high C). To me, this suggests that your tongue might start doing something slightly different when you move above high G. Would be very interesting to know where the tip of your tongue is (anchored?) when you articulate notes above high G?
Hi Justus. Thanks for watching and asking a question.
My articulation changes in the extreme upper register because I don't have it as under control as in the lower register. There are a couple of parts to this. First, I actively default to tonguing with a continuous airflow, with no gaps between the notes, so on the notes prior to the DHC I'm using a 'dah' tongue to facilitate this. Tonguing becomes more delicate the higher you go and, honestly, I'm not able to maintain the same approach above high G so on the DHC I'm using a 'tah' tongue because that's what I have. In time, I'll develop the 'dah' in all registers too - the 'tah' works everywhere for when I need it. What you seem to perceive as a benefit is my demonstrating the weakness in my technique. That's what I'm working on - I should follow my own advice and go practice more! :-)
Whether I'm using a meatier part of the tongue ('dah') or the tip ('tah') the articulation point moves gradually further back from my upper teeth the higher I go. I don't have any way to measure it and be more specific than that.
Thanks for this very detailed and helpful answer, Bryan!
It was a good question!
One thing that I've always struggled with is changing notes cleanly. I can change the notes well enough when I tongue it or when there's a valve change. However, if I have to slur 2 notes without changing valves (like going from middle G to C) there's normally a break in sound with a half second of me blowing air while my lips try to buzz again. I feel like this video has the answer, but I don't know how to whistle. Any other tips would be greatly appreciated.
Also, I don't know if it's related but typically I struggle with buzzing. I can't buzz the mouthpiece like some of my peers. After watching your B for breathing video, I found out that I wasn't even buzzing to produce a sound. Is that a bad habit? If I practice buzzing the mouthpiece, will that help?
Not buzzing to produce a sound is actually a good thing. Buzzing the lips or mouthpiece can be a useful exercise, but it's not quite the same as how the lips respond when playing. Don't worry about it.
In terms of your slurring problem, how about if you're moving down rather than up? For example, from C down to G. Do you have the same issue then? If not, what's the difference in how it feels?
Bryan, do you tongue with your tongue arched and the tip of it anchored behind the bottom front teeth (like CG prescribes it)?
My instinct, upon reading this question, was that I don't anchor tongue. However, upon trying it, it seems that my 'dah' tongue is very similar in position to an anchor tongue, but when I 'tah' tongue I'm using the tip of my tongue. Therefore, my answer is yes and no!
More broadly, we all tongue with an arched tongue - the back of the tongue still adjusts to/for register and the articulation point varies per register because the front of the tongue arches to mirror the back.
Bryan I was wondering if you could give me some advice on how to keep my lower lip from rolling in when I start to go into the upper registered. I do not have a overbite but for some reason my lower lip seems to fall in behind my upper lip, Any advice you could give me I would greatly appreciate it thank you
Hi Tim. Thanks for watching. I have a couple of ideas, although I can’t say for sure what you need to do without seeing you play.
First thing, before we start worrying about what the lips are doing - breath support! I talk about this in a number of videos but it is vital to everything functioning properly. There are very few chop problems - usually they’re air problems! Review “B for Breathing” if you haven’t watched it lately. Now, to the lips...
Would I be right in thinking that you place your mouthpiece on the top lip first, when you’re setting? If so, try to set the mouthpiece on the lower lip first - don’t put it anywhere different, just get the lower lip involved at an earlier stage. See how that feels and let me know if it helps.
The other thing to try is some stuff to get your corners more involved. Try Version 2 of the Pencil Exercise from “I for Isometrics” and the low register lip buzzing from “L for Lip Buzzing”. Make sure the grip happens in your corners not the center when you’re buzzing.
Between those 3 things, you’ll most likely find a solution. If not, please consider scheduling a lesson. With a quick look at your form as you play I can tell you exactly what you need to do to fix this.
Something I've struggled with is faster lip slurs or trills. I can whistle them easily to almost the point where a G and C in the staff almost sound like one note. But I've never been able to do this on trumpet. Any tips or things I should look for in fixing this ? Thanks
Have you tried going REALLY slowly when whistling so you can really focus on how the air changes and the tongue moves? That may well reveal the missing piece.
@@AirflowMusicNYC I have tried that and I still can't do it fast on the trumpet. Question, if you're issuing a tad little too much Mic pressure could it hinder slurs.
russell straight - it could, indeed. Check out G for Grip, if you haven’t seen it, for some tips on that.
@@AirflowMusicNYC ive been trying that to the point where the mpc is barely on my lips and still nothing. Its weird that I can whistle almost anything I want but can't play them on the trumpet.
It’s hard to advise further without seeing you play. Keep practicing and best of luck!
Useful but, with all do respect, boring as hell.
I’m so sorry I’m not entertaining you. Thanks for watching.
@Sean Francis Waters Lancaster I personally find these kinds of videos most entertaining. Most likely because I'm not looking for a distraction