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All of these videos are of things that several college trumpet teachers have said on internet forums "That can't be done."
I had a man fly to Dallas from LA to film one of these to win a bet. I have people asking for me to show some of these all of the time. So here they are.
Remember just because you can't run a marathon, or a 4 minute mile or bench press 500 pounds.... doesn't mean those can't be done. The repetition of fallacies can sometimes be innocent enough, however; when these inaccuracies are repeated often enough they become accepted as facts.
The key is to NOT over compress, not over tighten and not choke the sound.
Mouthpiece buzzing high notes is the best way to improve your range.
The student Rex is a lead player so my example is VERY in your face compared to how this is normally played. To get really good you have to work techniques and then adapt them to your style of playing.
When a player creates a puckered embouchure they need a bigger and deeper mouthpiece than when they play a standard Farkas or buzz embouchure. With lips as fleshy as mine there is over twice as much lip intrusion when I pucker. When you roll the lips in or overlap the lips they need a smaller mouthpiece than a standard Farkas approach. Again with fleshy lips; getting rid of the red makes a big change. For me to really play these 5 embouchures requires mouthpiece diameters ranging from .690 - .620 (A Bach 1 is .680 a Bach 10.5 is .625; with Schilke a 18 is .690 and a 5 is .625).
To do 5 embouchures on a video (AIMED at getting your best sound) would require 5 - 10 minutes of warming up each of the 5 embouchures. Since I get Angina attacks from playing I couldn't do that. It would also require changing the mouthpiece 4 times (once between each embouchure) and some flutter or flapping between each embouchure to lose the feel of the last set. Either of those would really disrupt from the whole purpose of the video. It shows that each of those sets has the ability to be played. NO other teacher in the world has ever had the guts to do that before. (Seriously if there was a mouthpiece change, 2 minutes of lip flapping and 2-3 minutes of soft long tones between each embouchure NOBODY would listen to it anyway.)
Mouthpiece buzzing helps resonance, tone quality, intonation, breathing....
When I use the pucker and apply pressure with the finger you can see it close the embouchure.
This relaxed buzzing helps to reduce facial tension, stiff lips and allows you to learn to use your strength where you need it and NOT everywhere.
Take the horn down and buzz again before each arpeggio.
Audio
6 Octave Arpeggio Mouthpiece Buzz
One of the most important things you were never told about trumpet.
Articles
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This site Trumpet College is about; Trumpet lessons and trumpet books by Clint 'Pops' McLaughlin - All major embouchures taught. Learn how to play effortlessly based on your facial structure. Thousands of students helped from serious amateur to pro level. Check out our trumpet lessons, our online trumpet lessons and our trumpet books. Trumpet playing, trumpet lessons. This site covers these topics: trumpet playing, trumpet lessons, Stevens, Superchops, Maynard Ferguson, mouthpieces, Bach, Callet, Schilke, Doc Severinsen, Yamaha, Maggio, embouchure, trumpeter, trompette, trompeta, trumpeting, marsalis, louis armstrong. Thanks for visiting.
Audio of why all players learn to be tense and how to stop.
Pops
Audio of me teaching a comeback player tongue arch using line 1 page 125 of the Arban book. The comeback player did all of the playing. I left out the 2 tries in the middle to save time.