Embouchure Development

PREFACE

It is with humility and even a bit of embarrassment that I offer to you, dear trumpeter, yet another method book - generically known as``how to blow the trumpet''. For I am reasonably sure that: (A) I have no unique exercises. (B) I have no access to previously unknown ``truths''.(C) I am not the originator of any of these principles. (D) All players with a very great range play in essentially the same way, so that the only unique aspect of this book is the manner in which the information is presented. I had the good fortune, a few years back, to gain access to the trumpet literature ``stacks'' at the Library of Congress. There I was able to examine virtually all of the method books which dated from well into the nineteenth century, through the early 1980's.

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 very appropriate question. As you may, or may not, know I believe that all good players play in essentially the same way - EXCEPT for the extent to which individual physical chracteristics dictate certain modifications.

The differences which I glean from the many "methods or procedures" are LARGELY a difference in (1) NOMENCLATURE (not to mention perceived meanings of that nomenclature) and the difficulty and necessity of verbally describing an internal, unmeasurable, invisible process. (Whew!!) There are people with "websites" who would LIKE to have you believe that all is "cut and dried". Many people fail to see the forest - because they are focusing too extensively upon a single parameter of that complex structure known as the embouchure. I make it a policy neither to recommend nor belittle the publications/writings/beliefs of my colleagues. HOWEVER - beware of those who give "logical," "self-assured" descriptions - but, alas, are not particularly adept at "doing it"!!

The most important thing is to be "working" in a manner which appears to be bringing results. FOR YOU! As always, the real truth is best evaluated by reading everything you can get your hands-on. You will see certain "truths" begin to emerge.

Now, to your question re. some of the universally agreed -upon principles: (1) Get the pedals going - LOUD, firm, in-tune (Tone "quality" is secondary (for these purposes)

(2) Arpeggio's, scales which require you to move from the pedal register, ever higher into the normal register - WITHOUT stopping to "reset" or even, "breathe". AND VISE-VERSA. "Look to develop your foundation before attempting to erect a skyscraper" - Sail The Seven C's

(3) Read #2 again!

(4) Get things "flowing" in the low to pedal register, no tongue. As things improve, begin to add the "tongue". (another problem to be solved!)

(5) If you want ALL registers to "sound" equally well, you will HAVE to spend equal time on all!!! Excessive mouthpiece pressure is universally destructive - the nemesis of brass players!.

(Q)While I've developed the facial muscles to buzz reasonably well without the aid of a mouthpiece, when I attempt to capture the buzz by bringing my mouthpiece (Bach 7C) in contact with my lips, I have a ton of leakage around the sides (unless I apply undue pressure) .

(A)Makes sense - you are going to have to apply more pressure to stop the "peripheral buzzing".

(Q) I'm thinking some of this may be due to the relatively small radius presented by my front teeth, but I'm not ready to jump to any conclusions just yet. Have you ever seen a decent trumpet player who had an underbite?

Yes!

(Q) Are there any special measures needed for this?

(A)If it is too severe, you can have your mouthpiece "bent" so you won't be inclined to "throw-back your head". Hoping that this all makes some sense, somehow. Keep 'Em Flying!

Clyde Hunt

Hi Clyde,
I am just starting to play again after a fifteen year layoff...and am having great fun but...I want to get good again. Really good.
I am 40 and was a lead trumpet player in the military (Marines) back in the seventies. Since starting to play again in November I have gotten pretty good again but kind of "hit the wall". I guess my question is, should I seek instruction and by whom? Or can I just continue to practice and practice (maybe the wrong things?)

Hello John,
Yes - there are certain basic (also predictable and familiar) limitations which often prevent a very good player from becoming a "world class", or "astounding" player.

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!

The Reduced Pressure Embouchure


My belief is that when the oldtimers talked about a "no-pressure" system, they meant: An embouchure which is "bunched" in order to create the buzz via compressing the lips to gradually close the aperture as you ascend; as opposed to an embouchure in which the mouthpiece is used to squash or thin the lips in order to raise the pitch.

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.

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