Sail The Seven C's
FAQ's and email support - ask Clyde

Dear XXX,
I omitted a very important quote from H.L.Clarke - this one from the Characteristic Studies Book.

"As a matter of argument, when the muscles of the lips are contracted for high tones, one would necessarily pronounce "Te", and when relaxed for the low tones, "Tu": consequently it would be unnatural, and almost impossible to use the same syllable for tones in all registers on the cornet". H.L. Clarke

This is the rationale and basis for my "silent whistle", as I assume that most people can develop a "feel" which is, at least, related to the one which is necessary for playing a brass instrument.

Keep 'Em Flyin'
Clyde Hunt

.....also just one more question...do players like xx , yy, > and zz use the closed embouchure technique or are they just really > strong?

Dear Mr.YYY
1.First of all, in a "nutshell" - every player who has a strong high register utilizes the principles of lip compression and airpressure - regardless of their description of "how it's done"!

2. The vast majority of students can "practice", the way they are now playing, "until hades freezes over", without seeing much result! MORE OF THE SAME will not bring any desired results. THIS IS NOT AN AREA OF QUICK FIX! All parameters of fine brassplaying need to be mastered before positive results begin to emerge.

3. If your "airflow" is lacking, no doubt "pedals" will be of some benefit. If you have no airflow problems, the "pedals" may be of minimal benefit. I've not seen many folks who have derived "zero" benefit from Pedal Tones. Are Pedal Tones a cure all - of and by themselves? No!

4.Learn to ascend FROM the Pedal register into the "normal" register, right up to "high C", for starters - NO BREAKS! Now, one begins to understand how "compression" comes into play. This "mosquito buzz" compression simply is "not needed" in the lower registers. Forget about "buzzing" the lower register!

5. Read #4, again.

6. Finally, perhaps your most disturbing comment was, "two weeks at the most"..... you don't really believe that you're going to master "anything" in two weeks???? (GRIN ;>) )

7. And yes, in some respects you, no doubt, WILL be starting over. BUT - you will be "modifying" your existing knowledge in order to allow "new things" to take place which have heretofore eluded you.

8."And as the situation is new, so we must begin anew" - Abraham Lincoln

9. I sincerely hope all the above may be of benefit, for your playing. But please remember, "I have never seen nor heard you play".

Keep 'Em Flyin"
Clyde Hunt Dear ////,
Recently, I have been asked to describe what I see as being the "most often observed" problems which plague trumpeters. Trumpet Player's #1 Psychological Nemesis is: Failure to understand that our "sound" is created, produced, and determined "internally", BEFORE it is "collected" by the mouthpiece. "Playing the trumpet" is an essentially internal process.

We do not "play" a brass instrument in the same sense that we "play" the violin or piano; hence, the "hardware" plays a minimal role in our success - or lack of it! You will "sound" like you, and I like me, regardless of the equipment! Playing the trumpet is, in fact, little more than "singing" - while substituting the lip "buzz" for the vocal chord vibration. Unlike all the other instruments which require a mechanical source of vibration, "we" are the tone generators for the sound of the trumpet.

There is a widely held belief that "success can be purchased at the local music store". Unfortunately, this belief is especially prevalent among young players who are, perhaps, more likely to be impressed by "glitzy" advertisements and testimonials from "stars", and more likely to be adversely affected by constant experimentation with varying equipment!

And it appears that many players presume that trumpet "paraphenalia" can be purchased in the same manner as one would select a new computer!

"why yes- I'd like a 10 gig hard drive, 240 megs of ram, and the fastest available processor", becomes, in 'trumpetese', "Why, yes - I'd like a weirdo 39X mouthpiece...no, wait, better make that the 39XER ..so I can get those D,E, and F's above High C". "BTW, when are you going to be getting the new weirdo 39XER-ea extended endurance models? How much more do you think the new "EA" model will cost?

Sure - it is great fun to purchase new equipment - it may even motivate you to renew your practice efforts .... for a few days! But it is a grave mistake to believe that trumpets, mouthpieces, and related "toys" will be of any real benefit for your progress.......especially, without an understanding of the dedication that is required in order to become a world-class player.

The Trumpeter's No. ONE Pedagogical Nemesis is:

Excessive external mouthpiece pressure via the Static Embouchure.

The "partials" or "harmonics" are selected by varying the amount of "forearm" pressure against the soft embouchure. "Mashing" the lips between the mouthpiece and teeth is perhaps a more painful description! The embouchure is actually "formed" by the mouthpiece. As a result, the player finds himself to be more at the "mercy" of the mouthpiece, and related equipment, than are some other players. I describe this as "bringing the mouthpiece to your chops". Psychology implications: An EXTERNALLY orientated, "trumpet as New years Eve horn" approach - you blow into "it", "it" produces the sound. All things considered, some folks are able to become quite good players using this embouchure - up to a certain point.

However, there are some unfortunate side effects associated with the Static Embouchure.

1. An upper range limited to D3 or E3 (above the staff) 2. One's "highest" register is limited by the ability to endure pain. 2. A weak low register (tones below middle C - first ledger line) 3. Great problems with endurance. 4. Range is limited to c. 1-1/2 octaves WITHOUT "re-setting" the chops. 5. Relatively poor flexiblity.

Overcoming the Static Embouchure and reducing mouthpiece pressure.

The CONSTANTLY ADJUSTING EMBOUCHURE - the basis for this thinking is the "mouthpiece-less buzz". The functioning of this embouchure is a result of consciously manipulating the muscles that control pitch and airflow/speed. I describe this as "bringing the chops to the mouthpiece". An INTERNALLY orientated approach: Pitch is controlled by pressing the lips INTO each other, and adjusting the airpressure accordingly.Our highest tone is the point where we are (A) Unable to further compress the lips, to effect a "higher buzz" - the air "breaks through" our lips at more than one vibration point, or leaks at the corners of the mouth.or (B) We are unable to supply sufficient airpressure necessary to "breakthrough" and "buzz" the lips. No buzz, no tone!

You may like to experiment with the "balloon" analogy: Blow-up a balloon while holding the neck of the balloon with the thumbs and first fingers of both hands. Now you can run your own series of experiments Re. pitch, airpressure, and compressing/relaxing the aperture or buzz.

My thinking is that there really is NOT such a great diversity as to how the trumpet is "blown" - the REAL differences have to do with how that process is DESCRIBED!

I'll conclude with a quote from the PREFACE of SAIL THE SEVEN C'S. Though written nearly 20 years ago, I have found no need to alter the premises.

"It is the author's premise that all good players play essentially the same way, but due to human variation both physical and mental, no single approach will be effective for all players. I have further hypothesized that the greatest stumbling blocks to teaching ``what to do'' while playing are : (A) A lack of scientific evaluative techniques. (B) A lack of standardized terminology, and (C) the difficulty of trying to externalize, or verbalize, a process which is essentially internal. In other words, most disagreements regarding playing techniques are a result of several differing verbal descriptions of the same process. It is much akin to the proverb of the blind men who gave conflicting descriptions of an elephant, based upon the examination of a particular appendage of the animal".

"The range of the trumpet, as well as that of all other brass instruments, is contingent upon the chops of the player. To this end, we brass players have to devote considerable time to the physical development of our embouchure. I doubt that anyone can promise that any amount of practice will enable everyone to play the above-mentioned seven octave range, any more than we can guarantee that every jogger will eventually be able to run the four-minute-mile. It is not given that all should be able to do so! But I can promise that everyone who seriously and conscientiously follows the regimen prescribed in this book will be able to improve his range and endurance considerably.

The high register will not capitulate to casual practice - but it will yield to those who correctly persist!" (End Quote) (C) Copyright 1999, B-FLAT MUSIC PRODUCTION

It is an important principal of SAIL THE SEVEN C'S (subtitled, An Easier Way to Play the Trumpet) that, NOT UNLIKE the pedal register, these tones (esp. above the 20th partial) are simply "played in tune" via the player's embouchure. Hence the concept of the "silent whistle" and the "constantling adjusting embouchure".

I would urge those, especially, who find themselves "stuck" on E, F, or G, (one of the most frequently heard complaints from those with an otherwise well-working embouchure) to pursue the idea of "narrowing down" the aperture, as I believe both Mr. Lynch and Mr. Sowinski have suggested.

I would also like to suggest that you might benefit greatly from developing the art of CLARINBLASIN by practicing on a long, "Natural Trumpet". Talk about learning to "pick-out" the partials with your "chops"!!

It seems clear to me that when one takes a good look at the overtone series of a brass intrument, from the eighth partial upward, a "well-tempered" scale is NOT part of the picture. From this standpoint, I have no interest in "slotting" this Just Intonation Scale where it tends to lie, quite naturally. Rather, we make the necessary adjustments in order to "play in tune" by well-tempered standards. And yes, I prefer to use "normal" fingerings so that I have a correct "feeling" of "where I am".

XXX wrote: cut/cut I have trouble *popping* notes above, say b flat above the staff. If they're in a phrase,no problem, but if I have to attack out of nothing on a high D, I sometimes have trouble.

Last night, on a friend's piccolo, I played cut/cut having the confidence to pick off anything up to high F out of nothing. My chops actually felt much better and more relaxed after playing the picc than before. What does this mean? What can I do to get my "attack confidence" on the b flat up to where it is on the picc?? Am I overblowing?? Cheers, XXXXX
Dear XXXXX,
1. It means that you are, in reality, playing an octave lower, in the overtone series, while playing the "pic". In othe words, the tones are not nearly so "close" together as they are on the long Bb.

2. So now you know why most players do not try to play the Brandenburg on a long Bb, even though playing the high "G's" and "A's" are no problem for "lead players". It is not the height - it is the close proximity of the notes!

3. Finally, so MANY people do not practice clean, precise, articulation in the octave from "high C"(C3) to C4. Most of their practice is "slurred", up there.

Begin on C3, playing staccato quarter notes c. 120. How many can you play without missing? Improve it by 100% before moving on to C#. Then continue upward. This isn't going to happen overnight - don't overdo it! It will gradually improve.

After achieveing success with the above, then move on to multiple tonguing, using the same procedure.

Keep 'Em Flying!

Clyde

https://www.bflatmusic.com

I am on phase v (three weeks) and am experiencing a decrease in > range. I rest sufficiently and experienced gains in sound and > strength in the other phases. I have some questions in addition to > the obvious "what am I doing wrong?" How "high" are you able to buzz, WITHOUT the mouthpiece? Are you able to play the first pedal "C", in tune, "open" fingering? Keeping in mind that I have never observed you - it appears that the previous phases were more "do-able" for you, and strengthening them gave immediate improvement. NOW - my guess is that you are pushing HARD on your ceiling and the going may be much slower from here,on. You may need to increase the duration of your "resting". > 1. Are the three warm up exercises to be done at the beginning of > each practice session and extended to lower pedal tones? If so, how > low? Yes - extend them as far down as possible, > 2. Should the pedal exercises be played before each phase practice > session and extended to lower pedal tones? Yes 3. Should the three octave scales (p.29) be attempted each day > immediately after the pedal exercises and before the phase v > exercises? I would use these only as a barometer as to "where you are" , developmentally, at the present. > 4. Even after extending the three warm ups and the pedals, I don't > seem warmed up enough to do the three octave scales or phase v to C. > Should I attempt them anyway? Save them for later > 5. Should all of the exercises be played as loud as possible without > over blowing? ABSOLUTELY NOT - this may be a key to the problems you are experiencing! Loud Playing is EXTREMELY tiring. The purpose of LOUD pedal tone playing is to force you to use LOTS of air. The "Harmonics Scales", eg., should be started ppp and only gradually increased in intensity - as your growing strength allows! > 6. Which exercises should be extended beyond what is written? Any or all may be extended as your capabilities allow. > 7. On the CD repeats that are written are not played and exercises > are either slured or tongued. Should I stick to what is written, > sluring and tonguing each exercise? Why not tongue one day, slur the next. Tonguing, invariably, is more difficult than slurring, so begin by mastering the slurs. Please get back to me with answers to my questions. Keep 'Em Flying! Clyde

(1) First of all - forget about your friend. You can't control what he does - the real race is with yourself!!

(2) I suspect that you are actually talking about "g" just above the staff! (?)

(3) "Squeezing-out" high notes is counter productive - of course, one can't "play" anything this way - only "hit" at them. You must develop the NEXT half-step ONLY when you are very strong and secure PLAYING the 5 half-steps below!!

(4) Preoccupation with the "high register", before you have developed a firm playing foundation, is a blind alley. You can't erect a skyscraper on a foundation of mud!!

(5) Finally, - I am sorry that I can't offer you a magic bullet! BEWARE of those who do! Get a good teacher and work on fundamentals.

(6) I am sending some information which I hope you find to be helpful. NOTE the information re. buzzing without the mouthpiece.

"Banging away at high notes will accomplish nothing good" - Sail The Seven C's

Get back to me if you have specific questions.

All the best!

A COUPLE OF FRESH QUESTIONS. BEFORE EX.2, TRACK 12 YOU REMIND US TO USE THE SILENT WHISTLE. BUT FOR THOSE INTERVALS, WOULDN'T THE VOWEL SOUND ALWAYS BE "TOO"?

Answer:

I see how you deduce this - but the "whistle movement" is relative to low > middle> high > middle > low, rather than related to ones total playing range.

EXACTLY WHEN ARE WE TO APPLY THE SILENT WHISTLE SOUNDS

They are always functioning - even during the chromatic scale. The embouchure ia CONSTANTLY adjusting!!!

SECOND, I WAS READING THE POSTLUDE AND NOTICED THAT YOU THANKED VAUGHN NARK FOR HIS ADVICE--BUT IN YOUR MOUTHPIECE SECTION YOU DON'T SEEM TO FAVOR ANY PARTICULAR MOUTHPIECE DESIGN. (INTERESTINGLY, MY RESEARCH ON MOUTHPIECES SHOWS THAT THERE ARE NO CONVENTIONAL MOUTHPIECES WHICH USE A 20 DRILL FOR THE THROAT.

I believe you are correct.

ALMOST EVERY MANUFACTURER, FROM BACH TO MARCINCIEWICZ, USES A 27 DRILL, SIGNIFICANTLY SMALLER. I APPRECIATE THE FACT THAT YOU ARE DISCOURAGING THE MAGIC MOUTHPIECE MYTH, BUT IS A 20 DRILL ON THE THROAT IMPORTANT TO HIGH-NOTE PLAYING OR NOT?

Not necessarily!!!!!!

Perhaps most would agree that a huge throat makes SOFT playing more difficult - can cause "flatness" problems, if it's too big for the player in question.

(I'M USING A BACH 3-D WHICH HAS A 16.30 MM INSIDE DIAMETER AND A 27 DRILL). AND YOU ARE RIGHT: IF YOU DON'T HAVE ENOUGH ROOM IN THE MOUTHPIECE FOR LIP FLEXIBILITY, YOU CAN'T REALLY "GET" YOUR METHOD. I DON'T EXPECT YOU TO ENDORSE ANY MOUTHPIECES, BUT I DID NOTICE THAT DAVE MONETTE'S "REVOLUTIONARY" MOUTHPIECES, IT TURNS OUT, HAVE A MUCH LARGER THROAT THAT A 27 IN MANY OF THE MODELS. HMMMMMMM.....

This is no big deal. Go get a couple of "used" Bach 7c's and a set of numbered drills - 27, 26, 25, 24, 23, 22, 21, 20, 19 . Drill out ONE of the mouthpieces - ONE larger drill size at a time. Now you can make your own comparisons.

Don't get hung up! The mouthpiece, throat, cup, ---Is NOT the reason for success or failure (GRIN!)

Keep 'Em Flying!

Clyde

Hi Clyde!

I have a question about my work in "Sail the Seven C's."Right now I am working in Phase IV. The problem I have is that I cannot play up to the high C's without pressure unless I play at a very soft dynamic level. Should I stay on Phase IV, and keep my dynamics down, or should I go back to Phase III until I can do everything in that Phase at a fortissimo dynamic level without undue pressure?

I would NOT be concerned about loudness, if you are convinced that you are maintaining the desired low mouthpiece pressure. The volume will grow as you learn to correctly use your INTERNAL air pressure, and as you become increasingly to maintain the embouchure position IN SPITE OF the increased internal air pressure.

Also, when should I go onto Phase V? Obviously, even if I have a nice, full easy high C, I'm not going to be able to go up to a high G. Should I just go up as high as possible until I eventually reach the G?

PHASE V At this point, play only what you are able, from Ex. 1 through 7. The "harmonics scales" and "Harmonic Intervals" , are the real "developers" here. (Be sure to use the indicated fingering) You, no doubt, will attain the (123) "E" harmonic scale, very quickly. WORK VERY SOFTLY - do not resort to old habits - MANY PPPP repetitions! Get back to me as soon as you are able to play the (123) "E" harmonics scale. After you understand the "feel" it is just a matter of time!

Thanks for your advice and your great book. I now understand why practice + an incorrect embouchure = NO IMPROVEMENT!

Keep 'Em Flying! Clyde

(Q) To trumpet teachers:

What is the purpose -- the benefit-- of sliding octave slurs where you play the harmonics in between? Why? What is the gain that can be achieved? Is it simply a matter of increasing flexibility? They feel good. I like them. I'm just wondering...why? Thanks,

First of all, I teach them (above) because I believe they provide the "easiest" access to the "higher" register.

(1) They get us started with the feel of "Clarinblasen" - where there is an "approximate" diatonic scale available. Begin with 1-2-3 valves depressed, sounding "E" fourth space. This is the lowest pitch at which it is possible to obtain the "Harmonics scales".

(2) Because there is no valve "movement", the resistance of the instrument remains unaltered throughout the entire scale.

(3) Because the partials are now found to be "stepwise", the attempt to "jamb" the mouthpiece into the chops, while ascending, is minimized.

(4) Depending upon the experience of the player, it is quite possible that the player will be unaware of how "high" he has ascended - thus helping to eliminate the "ledger-line paralysis" which is all so prevalent.

GETTING STARTED

Initially, if the player is unable to sound the entire octave scale, ascending and descending, he will be content to ascend only a 5th and back - all the while playing very softly and with the lightest possible pressure. Also, play slowly at first and only gradually increasing your tempo and volume as your growing strength allows. Play many repetitions - feel the partials "snap" by while ascending and descending. Press your lower lip "up and into" the upper lip, making certain to increase that internal air pressure as you "tighten/narrow" the aperture to ascend, and relax (reverse process) to descend.

Below is a "pre-harmonics scales" discussion which may be helpful for players who are attempting to play these "scales" with entirely to much "external mouthpiece pressure".

We need an embouchure which is "bunched" (some have called it, protruding) in order to create the buzz VIA closing the aperture gradually as we ascend, (as opposed to one in which the mthpc. is used to "squash" or thin the lips, in order to raise the pitch). In response to the ever tightening aperature, which raises the pitch of the buzz, IT IS NECESSARY to increase the strength of the airstream in order to overcome the "tightening" of the lips-aperture. You can readily experience this feel by buzzing: C2, then E2, then G2, for example. This is the feel of the "NO (mouthpiece) PRESSURE" embouchure (obviously).

Now, put down all three valves, play very softly, and use so little mthpc. pressure that you can hear the "buzz" from around the mthpc., as well as through the trumpet. THE ONLY MOUTHPIECE PRESSURE to be used is that which is necessary to stop the leaking from around the mthpc!!!! And the "bunched" chops and internal pressure will serve to FURTHER lessen the bad effects of the mouthpiece pressure. You can probably play a full octave, non-tempered scale (to E3) in this fashion. Press the lips together and squeeze the diaphragm muscles and sphincter as you ascend.Relax same as you descend The importance of the internal air pressure is OFTEN UNDERESTIMATED even among those who are otherwise good players. If you are using little enough pressure you can probably feel the partials "bumping" by.

Keep 'Em Flying!

Clyde Hunt

(Q) Do I have To Be A Freak in order to play In The High Register?