A really vital an important lesson here! So often see students closing down, especially when ascending. Pushing air like hell and creating loads of neck/face tension. Sometimes the opposite can also be true though of having too open an aperture and creating a very low pressure air stream making it difficult to ascend. I always recommend playing chikowiz studies at ppp and balancing the air flow/aperture
I am practicing it that way and it really works. I used to play too tight and I actually never let the air pass through the way it's supposed to. The results were stunning! Thanks mate!
I did know that, but I'd not ever heard Bobby talk about that, and I've taken a couple of lessons from Bobby. Interesting stuff! Oh, and thanks for the kind words!
I am a trombone player this how we get our big sound it works on the trumpet as well ….great tip. Bobby Shew is the first we heard this from. Nevertheless less great tip.
One way it was explained to me was that our embrochure forms a vowel shape. Project that vowel out in front of you about 8” out front & think of it being as tall as your chin to your forehead
Hi thanks for the thoughts, very useful. I have a question about how keeping the "reed" (lips) open feels around the aperture when you play. Do you make it firm or loose (like if you pressed your finger into the contour of the lips, are they firm or loose) and does that depend on the register? - I hope the question makes sense, I'm not sure how to explain it better... :)
In my experience a "closed" lip posture is FAR more efficient for tone production. But "closed" does not mean "clenched" (see "buzzing" as an exercise - that's BAD). There is no need to use embouchure effort to "open" the aperture. The air pressure will open the aperture when the cup pressure is low (during the cycle) and the air will flow through the aperture and into the instrument. THE ABSOLUTE BEST thing I ever did for my own playing was to begin with lips touching gently and to stop trying to hold the aperture "open", and to STOP playing as if buzzing the mouthpiece alone (or, even worse, the lips alone as in free buzzing).
Darryl - at high volumes, opening the aperture is a way to reduce backpressure and play with more ease in the upper register. See: Bobby Shew, Wayne Bergeron, Louis Dowdeswell for proof.
@@trumpetthoughts by "backpressure" I assume you mean resistance. I ascribe more to Lynn Nicholson's concept of vibrate "rim to rim" this gives healthy cross-section to the aperture on the "open" part of the cycle. There is no advantage to passing constant air through a perpetually "open" aperture. Its the "pulsed" flow that creates tone.
@@darryljones9208 But Lynn's tone is only good in the extreme upper register. He sounds terrible below that. Not sure I'd want to copy him. To each his own.
Thank you for the tips, are you basically saying to make your lips firm but open your lips more? Like wouldn’t it be to airy? Another question, blowing a pencil upwards would help with your blowing right?
The most important thing for the average player is to allow your jaw to drop so air can flow through the aperture, and you want your lips to not be tight. At high volumes, you might find that allowing the aperture to already be open allows you to play with less back pressure.
@@trumpetthoughtsI’m currently heading home right now from school with my trumpet, is it fine if we could possibly be in a call and you could possibly teach me some stuff virtually?
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Reeds are a great analogy, thank you.
You're welcome!
A really vital an important lesson here! So often see students closing down, especially when ascending. Pushing air like hell and creating loads of neck/face tension. Sometimes the opposite can also be true though of having too open an aperture and creating a very low pressure air stream making it difficult to ascend. I always recommend playing chikowiz studies at ppp and balancing the air flow/aperture
My guess is the closing down and blowing like hell is the more common of the two. Good advice!
I am practicing it that way and it really works. I used to play too tight and I actually never let the air pass through the way it's supposed to. The results were stunning! Thanks mate!
Glad this helped!
Great video! I love the idea of the oboe reed. I hadn’t heard that before.
I hadn't either, but it makes a ton of sense and has helped me tremendously!
Not sure if you knew that Wayne studied with Bobby Shew so it’s really Bobby Shew tips. You sound great btw! Big full, clear and vibrant tone!
I did know that, but I'd not ever heard Bobby talk about that, and I've taken a couple of lessons from Bobby. Interesting stuff!
Oh, and thanks for the kind words!
Great video!
Thanks!
Great video. Info is spot on.
Definitely my problem! Thanks!
Thanks brother! Awesome.
You bet!
I am a trombone player this how we get our big sound it works on the trumpet as well ….great tip. Bobby Shew is the first we heard this from. Nevertheless less great tip.
Bobby Shew is certainly very knowledgeable and a great teacher! I've been fortunate to have a couple of lessons with him as well.
Kinda looks like a Phaeton LV-1200 or Carol Brass horn you're playing. Didn't get much screen time haha.
It's a Carol Brass Geoff Winstead model - nice horn!
One way it was explained to me was that our embrochure forms a vowel shape.
Project that vowel out in front of you about 8” out front & think of it being as tall as your chin to your forehead
I don't know what that means, but okay.
Hi thanks for the thoughts, very useful. I have a question about how keeping the "reed" (lips) open feels around the aperture when you play. Do you make it firm or loose (like if you pressed your finger into the contour of the lips, are they firm or loose) and does that depend on the register? - I hope the question makes sense, I'm not sure how to explain it better... :)
I would think a buzzing firmness, ala Reinhardt. So firm, but not tight.
I think this was a great topic of discussion.
Side note: are you in Massachusetts?
Nope - Missouri!
Yes that’s a pretty cool tip
Thanks!
In my experience a "closed" lip posture is FAR more efficient for tone production. But "closed" does not mean "clenched" (see "buzzing" as an exercise - that's BAD). There is no need to use embouchure effort to "open" the aperture. The air pressure will open the aperture when the cup pressure is low (during the cycle) and the air will flow through the aperture and into the instrument. THE ABSOLUTE BEST thing I ever did for my own playing was to begin with lips touching gently and to stop trying to hold the aperture "open", and to STOP playing as if buzzing the mouthpiece alone (or, even worse, the lips alone as in free buzzing).
Darryl - at high volumes, opening the aperture is a way to reduce backpressure and play with more ease in the upper register. See: Bobby Shew, Wayne Bergeron, Louis Dowdeswell for proof.
@@trumpetthoughts by "backpressure" I assume you mean resistance.
I ascribe more to Lynn Nicholson's concept of vibrate "rim to rim" this gives healthy cross-section to the aperture on the "open" part of the cycle. There is no advantage to passing constant air through a perpetually "open" aperture. Its the "pulsed" flow that creates tone.
@@darryljones9208 But Lynn's tone is only good in the extreme upper register. He sounds terrible below that. Not sure I'd want to copy him. To each his own.
@@IndianOutlaw1870 i was specifically referring to the rim to rim concept , it provides more area to the open phase of the aperture.
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Thanks!
Thank you for the tips, are you basically saying to make your lips firm but open your lips more? Like wouldn’t it be to airy? Another question, blowing a pencil upwards would help with your blowing right?
The most important thing for the average player is to allow your jaw to drop so air can flow through the aperture, and you want your lips to not be tight. At high volumes, you might find that allowing the aperture to already be open allows you to play with less back pressure.
As for the blowing the pencil upwards helping with your blowing - I'm not sure I understand your question...
@@trumpetthoughts thank you for responding, what I meant for the last question is if you continuously blow down on the trumpet, would it help?
@@ryanschao I still don't understand the question, but my guess is no?
@@trumpetthoughtsI’m currently heading home right now from school with my trumpet, is it fine if we could possibly be in a call and you could possibly teach me some stuff virtually?
The lips should act as the vocal chords when playing
AR mouthpiece?
Indeed!
make sence