However, I did leave the library with a much better idea of which questions are the important ones. I was especially intrigued by authors who attacked each other's premises, but seemed to me to be wholly in agreement! In other words, they did not disagree on ``how to do it'', but their explanations seemingly clashed. I began by compiling a list of ``the most often mentioned parameters'', and proceeded to again go through each book in an attempt to see what the author had to say on the matter. The results of that compilation are available within these pages.
In this trumpet player's guide I have attempted to define, describe, and label those "questions'' which did not seem to be addressed in previous publications. At least they were not explained in a way which made sense to me. What this guide offers, I hope, is a unique personal approach which consists of: (A) A defined terminology to codify and label the parameters of brass playing. (B) A consistently programmed series of exercises which will address both the calisthenic and some of the musical needs of the player. (C) A demo CD or cassette. The essence of good teaching lies with the articulation of information in a manner which the student is likely to understand. This means that the teacher should make every effort to say the same things in as many ways as possible. One never knows which one will ``ring the bell''. It is my sincere hope that some aspect of this guide might trigger the ``aha'' situation within the student. You, dear reader, will have to be the judge of the extent to which I have succeeded.
When we return to that golden age of trumpet playing, the Baroque Age (1600 -1750), we find a close parallel with todays high register artists. Altenburg clearly states that his ``uncle could warble like a robin red breast up to the thirty second partial'' on the old eight - foot clarin trumpet. The thirty-second partial is roughly equivalent to ``double C'' on todays 4 - foot trumpet (C4) Michael Haydn requires a C4 on the piccolo trumpet in A, and there are A's, and numerous E's, F's, and G's (on the Bb piccolo trumpet) sprinkled throughout the Brandenburg Concerto #2 of J.S. Bach. The old trumpets were played in the high register, eighth through thirty second partials, out of necessity. Only in this register can an approximate diatonic scale be sounded.
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!
Excerpted from SAIl THE SEVEN C�S - An Easier Way To Play Trumpet!
Copyright B-FLAT MUSIC PRODUCTION
(Q) Not having any personalized instruction from my youth to rely upon, I began surfing the web to see what I could learn about embouchure development.I've been experimenting with 3 of the more popular approaches to see which one sounds best and feels most natural for me - at this point I'm leaning towards a Maggio, or at least some reasonable facsimile thereof. Before I invest untold hours in attempting to develop a particular embouchure, I would very much appreciate any experience/opinion you may have on embouchures for someone with my peculiar physical features - specifically a very narrow face combined with a mild underbite.
(A)Makes sense - you are going to have to apply more pressure to stop the "peripheral buzzing".
(Q) Are there any special measures needed for this?
One of the big problems, is being constantly surrounded by the mediocre! So many potentially brilliant, young players are content to simply play well enough to get by!!!! That is, to be the equal of, or better than, those with whom they are surrounded. The above are, I believe, surmountable - If you truly understand that YOU are the answer.
"Think not, that you can become an uncommonly good player by practicing the commonplace"!! You must be head and shoulders above the pack!! But the REAL race is with yourself, not with others! - Clyde Hunt
Before anything else takes place, please examine the following fundamentals: (1) The fundamental "martele" attack - Arban 11 -11. So often I am amazed when people who are supposed to be "good" players, are unable to play this in an acceptable style.
(2) Breath Control - get out the Clarke Tech Studies. Follow his instructions precisely. Keep increasing your repetitions until you are able to do TWICE as many as you thought possible!!!
(3) Excessive mouthpiece pressure is the NEMESIS of brass players!!!!
(4) Accept the premise that there is an "EASIER" way, than the way you are now doing things.
(5) Be prepared for the possibility that some of what you were taught is either NONSENSE, or that you misunderstood what was being said.
Now, If I have not yet infuriated you, (Grin!), please tell me something specifically about that "wall" you have run into! Keep 'Em Flying!
In response to the ever-tightening aperture, 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, of course, is the feel of the "NO (mouthpiece) PRESSURE" embouchure.
Now - put down all three valves, play very softly, and use so little mouthpiece pressure that you can hear the "buzz" from around the mouthpiece, 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 mouthpiece!!!! And the "bunched" chops and internal pressure will serve to FURTHER lessen the ill 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.