Diagrams of Trumpet Embouchures and how they actually work. Trumpet embouchure is the main topic of some of my trumpet books. My trumpet lessons and trumpet books have been mentioned and quoted in dissertations, magazines, other books, web sites and even youtube videos. I am going to use Diagrams of Trumpet Embouchures to explain some more in-depth ideas about embouchures.

First let’s see how some people think of embouchure.

1 Dimension

1-D Low Note. Long lip aperture.

1-D High Note. Short lip aperture.

Some people think of a trumpet embouchure in 1 dimension. That is, they think only about how long the aperture or buzz is. Yes, this does affect what note is being played but it is only a small part of the aperture picture and not really correct.

Lip Buzz Low C.

Lip Buzz High C.

How long is the aperture? ie are you playing a low note or a high note. People who think this way tend to only rely on mouth-corner tension to play higher notes. Lip to lip compression has no place here.

Every octave higher that we play; the size of the aperture is cut in half.

These numbers are just to show the variance of aperture size by octaves.

Let’s look at the size difference in notes if only aperture length changed the pitch.

If a Triple Pedal C = 256 inches of lip aperture

Double Pedal C = 128 inches,
Pedal C = 64 inches,
Low C = 32 inches,
Middle C = 16 inches,
High C = 8 inches,
Double High C = 4 inches,
Triple High C = 2 inches

The highest I have played or heard.

A Quadruple High C = 1 inch.

I know players that can play a triple pedal C like Arturo and players that can play a quad high C (I could until I got old). So, 256 inches – 1 inch is that difference.

So, this shows that aperture length alone does NOT change the pitch. There is much more to an embouchure than 1 dimension.

This talks about the part of the trumpet embouchure we can see but it does NOT mean it is really 1-D in the real world.

Next 2-D

2-D Low Note. Has both Length and height.

2-D High Note. Has both Length and height.

Others think of the embouchure in 2 dimensions.

Is it a long, tall aperture (low note) or a short, narrow one (high note).

We are still not thinking of how thick the lips are. How much meat the air has to resist.

In a way compression is not really included here so the biggest benefit of compression is left out.

What does this matter some may ask.

Well, if you are doing a physical action but don’t understand what it is supposed to do or how it can help; then it is doubtful that you can get all of the results that another person who understands what to do can obtain.

What is missing here is HOW MUCH LIP MASS is involved, how thick is the amount of lip that the air has to fight to get to the mouthpiece. or how long back to front.

The 3 Dimension world.

Think in 3-D. The back of the lip to front of the lip mass that the air vibrates to play. This is a Low Note a small thickness of lip tissue. No actual lip to lip compression.

3-D. The back of the lip to front of the lip mass that the air vibrates to play. This is a High Note with a large thickness of lip tissue involved. It shows a lot of lip to lip compression and a good “Aperture Tunnel”(TM).

The 3rd dimension is rarely thought of and never mentioned. Until I wrote “How the Chops Work”. It can in some embouchures play a bigger role in playing the note that the other 2. It also determines how much corner tension is needed.

A very small amount of lip touching means that the corners need a LOT of tension as the lips are not offering much resistance to the air. See the air only has to travel or fight through a small space where the lips touch.

When the lips push together; then they resist the air and there is much less need for corner tension. The air now must travel through 2,3,4… as much as 6 times as much lip contact area before it reaches the mouthpiece.

This distance inside the mouth where the air has to fight the lip surface is called the “aperture tunnel” (TM).

When the lip contact area increases the need for facial or corner tension also decreases. But the need for faster air increases.

In this 3-D example the low note drawing has only 1/5 the aperture tunnel that the high note drawing has.

Because of this to obtain the same amount of resistance it would need 10 times as much mouth-corner tension.

I can only tense my corners so much and then no more.

That means that low note drawing setting would have a more limited range for me than high note drawing. And because it requires so much MORE tension; then I lose both endurance and range.

The thicker high note setting drawing offers more resistance, so I use much less facial tension. Both my endurance and range are improved.

It also makes a cushion which aides in endurance and comfort.

Now it is simply NOT possible to determine how long the aperture is for a given note. Because how much you curl, how much tension you use, and how much compression (how long the aperture tunnel is) all affect how long the vibrating surface needs to be for any given note. And every embouchure uses differing amounts of those things.

This gives the first basic idea of 3D Embouchures.

In my book “How the chops work” I have 69 diagrams and pictures of the main embouchures like Farkas, Maggio, Stevens….. and show how they differ in how they make and use compression using the 3D concept. This really shows you how to fine tune compression for the embouchure type you are using and shows WHY it works.

Pops

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The Trumpet lesson videos on this page cover a great many topics pertaining to how to play the trumpet like a professional. Many of these trumpet videos were shot during actual trumpet lessons and will include one of my students in it.

Play everything on 1 and only 1 embouchure set.

Mouthpiece buzz to triple c.

Pencil exercise for low to high notes on trumpet.

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Reaching the high note is a goal, more like a benchmark, for any trumpet player. It’s technique, control, and understanding of how your body works with the instrument. Whether you’re a beginner or an experienced player, this guide will help you refine your approach to playing high notes and make it natural and effective.

1. The High-Pressure Air Tank: Building and Controlling Air

One foundation of playing high notes on the trumpet is your breath support. Your lungs work like a high-pressure air tank – you just need to use it like that. The air you blow through the trumpet must be controlled and powerful not in volume,  but in how you use it.

How to get the right amount of air pressure?

• Breathe naturally and from the diaphragm: Shallow breathing won’t cut it.   
• Maintain steady control: Release this air in a steady stream. Imagine filling a balloon without letting the air escape too quickly. You want a consistent strong airflow that doesn’t waver as you go up into the higher notes.
• Practice breath control exercises: Do long tones and breathing exercises on the trumpet. These will build up your stamina and control for high-pressure air support.

2. Tongue Position: The Secret to Pitch

Your tongue is the director of the airflow and the shape of the pitch. As your tongue goes forward and up, the tongue naturally constricts the space through which the air travels. This tiny movement speeds up the airflow and focuses the stream which is necessary for high notes.

• Think “Tiss”: When playing high notes, think of saying Tiss as this is the start of the high note anchor tongue position. This tiny movement directs the air in a way that helps produce high pitches.
• Don’t overdo it: The tongue should move smoothly and subtly. Exaggeration can cause tension and instability in your playing.
• Practice articulation exercises: Tongue position is also key to articulation. Practice scales and arpeggios with a focus on keeping your tongue light and agile, especially in the higher registers.

3. Lip Position: The Sweet Spot for Vibration

The vibration of your lips, also known as the embouchure, is where the sound is born. Your lips need to vibrate faster for higher notes but not tense up or thin out.

• Find the balance: Your lips should be gently firm but not rigid. Think of them as the reed in a woodwind instrument, needing just the right amount of tension to vibrate freely. Too much pressure will choke the sound; too little will make you miss the note.
• Utilize the corners of your mouth: Fortifying the muscles around the corners of your mouth makes a difference to keep the embouchure steady as you go up in pitch. This also reduces the temptation to press the mouthpiece too hard on your lips, which can cause fatigue and limit your range.
• Practice lip buzzing: Try buzzing exercises with just your lips. This helps you find the right amount of tension needed to produce higher pitches.

4. Small, Fast Air Stream: The Power Behind the Pitch

Once you have the right air pressure, tongue position, and lip tension you need to make sure your air stream is fast enough to reach those high notes. It is easier to hit the high register when the air blows fast. Also of even more importance, the air stream needs to be narrow. You need to use anchor tonguing to focus the air to vibrate a smaller amount of lip tissue.

• Air control is key: As you go up in pitch your air stream must be smaller and faster. That’s why your tongue position is so important – it helps to both focus and accelerate the air as it exits your mouth.
• Imagine a laser beam: Your air stream should be focused like a laser beam, going directly through your embouchure and into the trumpet.
• Train with speed drills: Practice exercises that encourage fast air, such as playing high notes at different dynamics, starting soft, and increasing volume while keeping the pitch.
• Practice whistling. Many high note players spend time whistling every day to train the tongue for higher notes.

How to generate more power to reach a higher register?

Combine all these into one smooth process without over-blowing or straining. Strengthen your diaphragm with breathing exercises, and sit-ups, practice your tongue and lip coordination, and focus on fast controlled air.

How can you make it look natural without putting more pressure on it?

Relaxation and confidence are the key to making high notes look effortless. Don’t tense up your face, neck, and shoulders. Keep your body loose and breathe deep. Visualize the note before you play it and trust your practice.

What do professionals do to generate high notes on the trumpet?

Professional trumpet players spend years honing their high-note technique. They practice consistently and do exercises that target breath control, tongue placement, and embouchure stability. They also stress the importance of mental preparation and use visualization techniques to “see” the notes before they play them.

Conclusion – Professional advice by Pops

Clint, a professional trumpet teacher, sums it up: “High notes are as much mental as they are physical. Trust your practice and don’t let fear of missing a note cause tension. Consistent thoughtful practice will get you there – so take it one note at a time.”

Playing high notes on the trumpet musically is the goal. With these tips, you’ll be well on your way to easily playing those high notes.

The post How to Play High Notes on The Trumpet appeared first on BBTrumpet.

Are you a music lover looking to add the trumpet sound to your skills? Or maybe you’ve been inspired by the orchestra’s jazz solos or brass section. Whatever the reason, if you want to learn “how to play the trumpet”, look no further this is a complete guide for beginners with tips to become an expert.

This guide will take you through the steps of accurately playing the trumpet. You’ll learn the basic techniques, proper embouchure, breath control, and finger placement to produce that trumpet sound.

Whether you’re a complete beginner or a rusty trumpet player looking to brush up, we’ve got you covered. We’ll give you tips to overcome common problems like hitting high notes and building endurance and tone.

Unleash your inner musician and let’s make music. Join us as we play the trumpet with accuracy and fun. Let’s use this amazing instrument to make beautiful music. So, grab your trumpet, and let’s get started!

Trumpet basics

Playing the trumpet starts with the basics. As a wind instrument, the trumpet requires a set of unique skills and techniques to produce that sound. Let’s get into the trumpet basics and set the foundation for your musical journey.

First, we should learn what are the parts of the trumpet. The main components are the mouthpiece, the valves, the tubing, and the bell. Each of these parts plays a big role in producing the trumpet sound. Knowing how they work together will help you understand the instrument and its mechanics.

Now you need to learn how to hold the trumpet. The correct posture is key to control and tone. Keep your back straight, shoulders relaxed and arms in a comfortable natural position. Don’t tense any part of your body as it will affect your playing.

Choosing your trumpet

Choosing the right trumpet for you is a big decision that will affect your playing. There are several things to consider when choosing a trumpet; your level, budget, and personal preference.

For beginners, it’s usually recommended to start with a B-flat trumpet. This is the most common and versatile trumpet pitch, so it’s a great one to learn the basics on. As you get more advanced you may want to try other trumpet types; the C trumpet or the piccolo trumpet which have different tonal qualities and playing characteristics.

When it comes to the trumpet itself you’ll find a range of options; from student-level instruments to professional grades. Student trumpets are generally more affordable and designed for learning, professional trumpets have better materials and more features. Consider your budget and long-term goals when you make your decision.

Also, try out different trumpets before you buy. Visit your local music store or connect with experienced trumpet players who can give you advice and recommendations based on your needs and playing style.

Trumpet embouchure and breathing

Master the trumpet embouchure and develop good breathing techniques and you’ll get a rich, resonant sound. The embouchure is the way you position your lips and facial muscles to create the vibrations that produce the trumpet’s tone.

Start with the embouchure formation. Press your lips together gently, not too tight. The mouthpiece should be above the center of your lips, with the top lip covering a bit more of the mouthpiece than the bottom lip. This will give you a centered sound.

Breathing is just as important for trumpet playing. Breathe from your diaphragm, your abdomen should expand as you inhale and contract as you exhale. Don’t shallow chest breathing, this will limit your air support and cause fatigue. Practice deep, controlled breathing and work on maintaining a steady airflow while playing.

Try out different embouchure and breathing techniques and be patient with yourself as you develop these basics. Consistent practice and attention to detail will hone your embouchure and breathing and give you a more powerful and expressive trumpet tone.

Fingerings and scales on the trumpet

Fingerings and scales are the foundation for all players when learning how to play the trumpet. With the three valves combined, you can play a whole range of notes and melodies.

Start by learning the basic fingerings for the most common notes in the trumpet range. Practice single-note exercises, focusing on clean valve changes. As you get more comfortable, add more complex fingerings and explore the whole instrument.

Scales are the next step. Start with the major scale as this is the foundation pattern that will help you develop your technique, dexterity, and understanding of the instrument. Focusing on tone, rhythm, and finger coordination, practice scaling in various keys.

Gradually add more complexity to your scale practice, add different articulations, dynamics, and tempo variations. This will not only improve your technical skills but also help you develop musical phrasing and expression.

Fingerings and scales practice will be the foundation for more advanced trumpet techniques like arpeggios, intervals, and complex melodies. So invest in this foundational work as it will be the base of your trumpet playing development.

Trumpet maintenance and care

Proper maintenance and care of your trumpet is key to its longevity and performance. As a musician, you need to know the basic maintenance tasks to keep your instrument in top shape.

One of the most important parts of trumpet care is cleaning. After each playing session wipe down the outside of the trumpet with a soft, lint-free cloth to remove fingerprints and residue. Also, you will need to clean the valves, slides, and internal tubing periodically to prevent grime and debris buildup.

Lubrication is another part of trumpet maintenance. The valves and slides need regular application of valve oil and slide grease to operate smoothly. Follow the manufacturer’s recommendation for the type and frequency of lubrication and use high-quality products designed for trumpet maintenance.

In addition to cleaning and lubrication, make sure to store your trumpet properly when not in use. Keep the instrument in a soft case and avoid exposing it to extreme temperatures, humidity, or direct sunlight as these can cause damage over time.

Maintenance and care will not only lengthen the life of your trumpet but also give you a consistently good sound. Invest the time and you will get a good playing instrument.

Good tone and sound on the trumpet

Getting a good tone is one of the most enjoyable and difficult things about playing the trumpet. A beautiful sound takes time, practice, and a good understanding of the instrument.

The embouchure lies at the core of a brilliant trumpet sound. As we’ve already discussed, how you position your lips and facial muscles is key to the vibrations and the sound. Keep refining your embouchure, and try different levels of lip tension and mouthpiece placement to find what works for you.

Breath support is another key to tone production. Keep a steady, controlled air stream, and use your diaphragm to power your playing. Don’t force the air, this will give you a strained, unnatural sound. Instead focus on relaxed, efficient breathing so you can play long notes and phrases easily.

In addition to embouchure and breath control, pay attention to your articulation and tongue placement. How you attack and release notes can affect the clarity, precision, and overall sound of your trumpet. Try different articulation techniques, tonguing, double tonguing, and triple tonguing to develop a versatile playing style.

Practice, attention to detail, and experimentation will be the key to your trumpet sound. Get feedback from other players, teachers, or mentors, and don’t be afraid to try new things until you find what works for you.

Trumpet exercises and warm-ups

Having a consistent warm-up routine is essential for trumpet players as it prepares your embouchure, breath control, and overall technique for the demands of playing. Spending time on warm-up exercises will improve your tone, range, and endurance.

Start with long tones. Focus on steady air and a central, resonant sound. Gradually increase the range and dynamics of these exercises and play within your comfortable range.

Next, do some lip slurs. These are long notes without using the valves. This workout creates your embouchure adaptability and coordination and generally control and articulation.

Arpeggios and scales are also part of a warm-up for the trumpet. Hone diverse scale designs, and pay consideration to finger ability, cadence, and tone. Gradually increase the tempo and complexity as you get more comfortable.

Now add some articulation exercises to your warm-up, single tonguing, double tonguing, and triple tonguing. These will help you develop a clean technique.

Remember, consistency is key. Set a time each day for your warm-up and be patient with yourself as you build endurance and develop your trumpet skills.

Intermediate trumpet playing techniques and exercises

As you get more advanced in your trumpet playing you will want to start exploring more advanced techniques and exercises to challenge yourself and continue to develop your skills. These intermediate-level exercises will help you expand your musical vocabulary, and increase your range and overall trumpet mastery.

One area to focus on is interval training. Practice playing different intervals, from simple major and minor seconds to larger leaps like fourths and fifths. This will help you to be able to play different note combinations cleanly and accurately which is essential for playing more complex melodies and passages.

Another area to explore is double and triple tonguing. You’ll be able to play notes that are repeated more quickly and accurately with these advanced articulations. Master these and you will have the flexibility to play faster passages and contribute to a more dynamic playing style.

Expanding your range is also key at the intermediate level. Work on exercises that gradually take you out of your comfort zone, both in the high and low ranges. This will not only make you more versatile but also give you a fuller sound.

Also, work on more complex rhythmic patterns in your practice. Syncopated rhythms, polyrhythms, and irregular time signatures will help you develop your sense of timing and musical phrasing. This will make you a more versatile trumpet player.

As you get into these intermediate techniques remember to keep a balanced approach to your practice. Alternate between technical exercises and more musical playing to make sure your development is balanced and maintainable.

Next Step: Play the trumpet at an advanced level

You now have this complete guide to playing the trumpet with precision. From the basics to the advanced techniques, you have everything you need to get started.

Remember learning how to play the trumpet is a lifetime journey. There will always be new skills to learn, new music to master, and new ways to express yourself on this amazing instrument. Enjoy the process and keep getting better with practice.

As you continue your trumpet-playing journey consider:

• Find a qualified trumpet teacher or mentor who can give you one-on-one guidance on how to play the trumpet. Working with an experienced teacher will help you progress faster and overcome specific challenges.
• Join local music groups, school bands, community orchestras, or jazz ensembles. Playing with others will improve your musicianship, ensemble skills, and stage presence.
• Explore diverse sorts and styles, from classical and jazz to world music. Broaden your musical horizons and become a more versatile trumpet player.
• Attend live performances, concerts, and trumpet masterclasses to surround yourself with the artistry and inspiration of great trumpet players. Watching and learning from the best can be very motivating and enlightening.
• Set yourself achievable goals, whether it’s to master a new technique, expand your range, or play a difficult piece. Celebrating your successes will keep you motivated and engaged in your trumpet-playing journey.

Remember, the journey of learning how to play the trumpet from a beginner to an expert trumpet player is filled with both challenges and rewards. Embrace the process, stay dedicated, and let the magnificent sound of the trumpet be your guide. Happy playing!

– BBtrumpet

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Regardless of the embouchure you use these things MUST always happen.

The lips must be moist. The surface tension of the water aids in setting up the vibrations.

The lips must be touching. (If the air has nothing to fight there is NO buzz.)

Use as Little pressure as possible. Pressure only separates the lips and stops the sound. Backing off the pressure will allow you to soar.

Everyone says Tighten up to play high. Hold something between your finger and thumb. That squeeze is what they are talking about. Playing high involves slightly pushing your lips together as you ascend.

Farkas embouchure

75-80% of all players use the Farkas embouchure.
This embouchure is described FULLY in “The Art of Brass Playing” by Phillip Farkas.
He told people to blow as if they were trying to cool soup. That is how he set the embouchure.

Raphael Mendez said to say the letter “M”.

In the Farkas embouchure, you must Point the CHIN down. It is the pointing of the chin that prevents you from stretching the lips too thinly.
The skin under your lower lip will be taut with no air pocket.
Your lips do not overlap nor do they roll in or out.
The corners of the mouth are held firmly in place.

Now what they DIDN’T say.
To play with an extended range you must.

• Use a Pivot
• Use a Tongue Arch (hopefully Anchor Tonguing)
• Use a LipSetpoint
• Remember to use compression for range
• Like finger pushing against finger

Maggio Embouchure

The Maggio embouchure was established because Louis Maggio had sustained an injury that prevented him from playing any other system.

This embouchure is elusive for some players. The pucker is so different from what they used before that they lose control and sound quality. Others do well.

In this system, you cushion the lips by extending them or puckering ( like a monkey ).
In fact, their T-shirts are a closeup of a monkey forming the embouchure.

This puckering enables the players to overcome physical malformations.
It also lets the player play for an extended time in the upper register.

I DO advise people who can not play other embouchures because of injury or serious dental malformations to TRY the Maggio embouchure.

Stevens Embouchure

The Stevens Embouchure requires a special mouth formation to be 100% successful. In the past 2 years, I’ve only started a few students on this embouchure.

To set the Stevens embouchure you:

• Make sure that your teeth are 1/4 – 1/2 of an inch apart.
• Make sure that your jaw is forward making a flat playing surface.
• Make sure that your lips are touching and slightly push your lips together to make a cushion.
• Then PLACE the mouthpiece ON your lips.
• To ascend you will push the lips together.
• Yes the book says never use tongue arch but Stevens used Anchor Tonguing. IT does much more than mere arch does.
• Use a LipSetpoint
• The lips will have a natural tendency to slightly curl in. That’s OK.
• Remember to use as little pressure as possible.
• The more that you can back off the pressure the more you have in reserve for later
• Use a PIVOT.

Super chops Embouchure

This is taught by a well-known teacher/horn maker.

It seems ( at least to me ) to mix parts of both the Maggio and Stevens. It share the same problems also. Plus it is very difficult to learn to slide the lips up to the high register position and back to normal.

In the Super chops embouchure, the pivot is much more aggressive than on other embouchures.

• The pivot is used to push the lips over the top teeth and force the air stream to follow it.
• The lower lip curls in over the top of the bottom teeth ( like a reed player ).
• The top lip slightly overlaps the lower lip.
• The lip compression comes from pulling all of the muscles toward the center. This causes a semi-pucker.
• This system does NOT use a tongue arch. He says that it constricts the throat.
• All tonguing is to be done through your teeth. This part really disturbed me.

As you ascend you pivot draw your facial muscles in and slide the mouthpiece over the top of the upper teeth.
To me, it seemed like an extreme embouchure shift.

Some good professional players ARE using this to their advantage.

Lip Buzzing Embouchure

Mendez played and taught the lip buzzing embouchure. When he taught he made his students lip buzz a month before he gave them a mouthpiece. He then made their mouthpiece buzz a month before he gave them the trumpet. By then they could change pitches and have a decent tone. I use this embouchure on most of my students.

The fastest way to successfully go to a closed lip buzzing embouchure is :

• Lip Buzz: (Like spitting seeds.)
• Do this 15 – 30 minutes a day. Buzz scales, songs, arpeggios, etudes….
• Set your new embouchure
• Buzz a note and while holding the buzz sneak the horn & mpc into playing position.
• Take ALL breaths through your nose (so you don’t disturb the embouchure). (Most open aperture players try to start closed and open up the chops as they breathe. They pin the lips in place while separated and can only make the lips touch by using mpc pressure.)
• And play songs and etudes.
• Use Anchor Tonguing
• Use a LipSetpoint

(After the new setting is secure go back to normal breathing.)

Stay in the staff until you have strengthened the NEW embouchure.

Do a lip-setting drill:
Buzz and sneak the horn into place to play 1 note. Remove the horn and start over. It takes thousands of good reps to break a bad habit.

Do those things for 1 month.

Then AFTER the new embouchure is set and the chops are stronger you can work on the Stevens palming exercise. I only do open arpeggios with this. Do it 15 minutes a day and after a month you should be able to play over High C with almost no pressure.

Then you must learn to relax the face and let the tone become full. Work on pulling the corners in to adjust the tone color and assist range. Relearn your pivot and tongue arch. Work on more efficient breathing….

By Pops

The post The Role of the Embouchure. appeared first on BBTrumpet.

Pops The Trumpet Cop, trumpet cartoon videos answer serious trumpet questions. A great series for young or young at heart players.

Trumpet cartoon videos are a great way to get students attention and still teach meaningful lessons. Even my adult students love the trumpet cartoon videos and have learned from them.

Why take lessons with Pops.

Trumpet teaching is often 200 years behind times.

Use your embouchure tools in the right order.

Procrastination is our enemy.

Filming Lip Vibrations.

Why is there air in my sound?

Anchor Tonguing

Endurance and arch/anchor tonguing

About Resonance and mouthpiece buzzing (the aperture tunnel)

Why talent and desire don’t mean much

Pops the Trumpet Cop Videos

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I have given lessons by web cam and phone to trumpet players all over the world. These weekly lessons give you the chance to transform your playing. We will work on new ways to play that can unlock your sound, endurance and range.

How to arrange your lesson:

Purchase the lesson and then we can arrange a time that is suitable via email or phone.

I prefer to use Zoom for lessons. So create a free Zoom account and then test your settings (video and audio) before the lesson.

Pay 150 for 1 hour lesson

Some accomplishments that set me apart from others:

I am world famous for teaching and have been mentioned in magazines and books written by other teachers.

I have helped players to become full-time Professional Players.

I am the first person to ever write about The Aperture Tunnel (TM).

I am the first to both explain and give musical exercises to learn about Lip Setpoint (TM).

I am the first to write about different embouchure systems as a 3-D model (Farkas, Maggio, Overlap, Stevens, Superchops, TCE.)

I am the first to write about the 4 Trumpet Octave Keys (TM) relaxing enough so that mouthpiece seal raises pitch an octave, Air stream Focus (TM), Air Kicks (support), and correct lip compression; which are used by pro players but almost no hobby players use them.

I have written about which facial muscles to use and which ones hinder playing. This enables you to play and be relaxed, when you stop the facial tug of war.

I wrote about and connected the SS or hiss to tongue arch and wrote about how arch relates to anchor tonguing.

I created a new way to hold the trumpet that helps to reduce mouthpiece pressure.

I developed a new way to reduce facial tension in ONE day.

I did the 1st rewrite of music to The Arban Book in 150 years and brought the techniques into the 21st Century.

I am the 1st person to do a Thermal Imaging study of people while they were playing trumpet.

I am the 1st to do a study on resonance and spectral analysis of the entire Trumpet Family, Flugel, cornet, Bb, C, Eb, Picc and on how embouchure tension relates to resonance.

People can improve all of their life. Keith Fiala has toured with Maynard Ferguson and Arturo Sandoval and yet he was here again as learning never stops.

The post 1 Hour Trumpet Lesson appeared first on BBTrumpet.

As far as aperture settings there are several subsections of a touching embouchure. There are people who use a “Bulldog face” like Roy Romans approach to the Stevens. It is tight and to me pinched. They go from that tight setting to barely touching and everything inbetween. You asked about the benefits of a touching apeture. That is outlined below.

First there is a vibration setup in the air in the tubing of the trumpet. And that vibration is responsible for the sound that we hear. Now how does that vibration start? If we wrap our lips around the leadpipe and blow all we get is a hiss. We can hear the air move but there is no vibration or tone. So then the lips have a part to play in this.

Players who use an open aperture need to get feedback inorder to produce a trumpet sound. This feedback is from the return of the waveform that they blew into the mouthpiece. They blew air through the lips it met some resistance and some of it returned to the lips adding a slight amount of back pressure to all of the lip surface. This helped them to complete their buzz and a note was produced.

The resistance that sent the wave back is actually from multiple sources:

1. The bottom of the mouthpiece cup
2. The mouthpiece throat
3. The mouthpiece backbore
4. The ambient air pressure in the horn
5. The taper in the leadpipe
6. The soft boundary at the end of the bell

What does the feedback actually do?
Well it closes the lip aperture enough to force a buzz to happen.

How does that affect trumpet playing?
From low g to g on top of the staff it has little affect. As you ascend from g on the staff up it requires more and more feedback to make the buzz. There is a point where the mouthpiece and the horn can NOT add enough feedback for the range to go up any more. The waves no longer return as the soft boundary is now past the end of the bell. The player resorts to feedback in the form of arm strength and mouthpiece to lip pressure to close the aperture.

Now the problem begins. Endurance, tone, range and everything else is hampered. Depending on your setup and playing requirements this problem can range from minor to very serious.

Why use a close or touching aperture?
If the lips already have a small enough aperture that you can buzz then NO feedback is needed. That includes arm strength and mouthpiece to lip pressure. I want to state for the record that there are people who can free buzz a high c and many can even free buzz a super c. However the ability to free buzz a middle c means that there is less need for pressure. The higher ones are just gravy as it were. There is always a point where the lips need some feedback. But if that happens over super c then that player has one heck of a lot of endurance. Although it is hard to break old habits and learn to free buzz; that ability makes playing the trumpet easier.

Total playing comes about when every trumpet related act is done in the same manner. This includes lip buzz, mouthpiece buzz, low c, high c , 2 octaves over high c, long tones, stacatto notes everything played with the same embouchure.

One problem here is that few people look at themselves playing so it is very easy to end up taking minor short cuts. At the Stevens Embouchure Clinic every student was taped so that they could see the changes that they were making.

Some people will buzz easier in a smile embouchure and some in a lip overlapping embouchure so they try to adopt it. This false buzzing does not help. It really needs to be the same embouchure that you actually play. Most players who have limited themselves because of embouchure end up with 4 and sometimes 5 different types of embouchures that they use.

They have a
1) lip buzzing embouchure,
2) a pedal tone embouchure (meaning they can NOT play pedals with the normal setting),
3) the real embouchure (low c – g on top of the staff).
4) a shifted setting when several high notes are played in a row (they will take a breath here and reset the chops) and finally some even have an
5) I’m tired setting that they play.
It is easy to start this type of thing and is also very deceiving as these changes are used to help in times of stress. You are not watching yourself and you are working your rump off to play NOT constantly checking to see if you are playing only one setting.

There are several senarios that can be seen here.

1 For some they remember the need to take a breath to accomplish a register change. It is a chance to complete the embouchure shift. Thousands of people do this without knowing that it is a shift. This limits your overall playing. Why can they play some lead charts well and others don’t come out right? Some songs don’t have breaks in the places needed for the embouchure shift to take place. They change registers too often or too fast. This works both ways a low setting not hitting the top notes and a high setting not allowing the lower notes to sound.

2 For some there is a consistent but limited range. They play great from low g to around high c ( I’ve seen some stall out at g on top of the staff). For some reason no matter who they take lessons from or how much they practice the range never really changes. This is really the same as player 1 only he has not picked up the squeel setting yet.

3 This player is fine except the playing time is always limited. However if high playing is involved then the time is shorter.

4 This player has a real problem with endurance. Some days with the right warm up he can play fine. But other days if the warm up was wrong the time limit is 20 – 30 minutes. If he pushes for it the next day is bad. If he misses a couple of days he is lost.

Players 3 & 4 will sometimes talk about pumping up the chops. And if they are pumped they play differently than normal. They can feel yesterdays playing still affecting the lips 12, 24, sometimes 48 hours later. This is not pumping up it is swelling caused by bruising the lips. Player 4 is different in that he has to keep a certain amount of swelling in the top lip to play at all. That’s why a weekend off leads to a bad day or two. They sometimes make a lump, knot, or flap swell up to get the lips to buzz.

These are alike in that they are all using an open aperture embouchure setting. They are not making the lips touch always. Some like player 1 cheat by means of an embouchure shift. Player 2 accepts it and lives with it. Both 3 & 4 use mouthpiece pressure to control the lip aperture.

The lip aperture is a result of the air. You start off with the lips close and touching a rush of air forces them apart and forms an aperture. The muscle tension tries to restore the normal touching and a vibration is set up. If the lips are apart before the air is delivered then pressure is used to make the lips close. The rim of the mouthpiece presses the soft lip muscles into the teeth and continues to press until they are flattened out and finally touch.

This can be checked by using a mouthpiece visualizer. If it is really used like you are playing. However the above 4 playing types all describe the problem already.

What is the cure for all of these problems?
Buzzing; Not with the mouthpiece but just the lips. It is 4 times harder. The mouthpiece is a crutch it cuts the vibrating surface of the lip in half and adds feedback. The portion under the rim and outside of the mouthpiece can’t buzz. Think about a guitar string when only half can vibrate the sound is an octave higher. Also the mouthpiece adds some back pressure from the backbore and throat bore. This helps to increase resistance so you can play higher. When you buzz your lips the entire surface gets a workout. That is why it strengthens your chops faster than playing. (This is an exercise to use for about 4 weeks to learn a closed lip setting. This is NOT a life long practice.) Also no mouthpiece means no mouthpiece preasure. That means no swelling, pain, damage… Lastly some players can not buzz their lips because they use too open an embouchure. They depend on mouthpiece pressure to flatten out the lips and push them together in order to play. These players need to make the lips touch.

When using a visualizer you try to buzz as you normally play and check several things. You can see your aperture as it is created by blowing the lips apart. You can see if your aperture is centered or if it is way off. You can see if you have a cushion or not, pinched lips, lips collapsing into the mouthpiece and other things . And when you stop buzzing you can see if your embouchure is touching or if you use pressure to close the gap.

Aperture shapes:

Apertures fall in 3 types flat causing a thin shrill sound. Oval causing the full sound we all seek. And Round causing a dull too dark sound.

Aperture is controlled by the mouth corners. If they pull out from normal then it is flat. If they stay put or come in slightly it is oval. And if they draw in to make a fish face it is round. When you draw the corners to make a more rounded or oval aperture then you must use a little more vertical lip compression or the lips separate.

These aperture shapes as well as the size are completely controlled by the muscles forming the embouchure and are independent of tongue level. There is a study involving a floroscope machine done in the 60’s that was published in the Instrumentalist. The arch of the tongue (tongue level) can affect the direction of the airstream and certainally the airspeed but not the shape or size of the lip aperture.

Finally aperture size can be affected in two directions height and length. It is the ability to control the length that most people ignore. There are some remarkable results to be found here by those willing to work on this. Jake said it very simply “think of making a fist with your mouth”. It draws in from all sides.

Aperture control is needed to play everything. However if the lips are not touching the air passing between them will not vibrate them and establish a sound. If the lips are separated and held in place by the mouthpiece then the only way to close them and produce is by using mouthpiece pressure.

“The term lip aperture refers to the space blown open for the necessary production of lip vibrations to create the sound. Permitting the lips to open at the vibrating points during the embouchure preparation, during the mouthpiece placement, during the inhalation and at the completion of the blowing is one of the principal contributing factors for lack of range, power, flexibility, endurance, ect. In the Pivot System the lip aperture must exist only during the actual blowing.”
from: “The Encyclopedia of the Pivot System” by Doctor Donald Reinhardt

“The cure for this inaccuracy is the regular practice of mouthpiece buzzing. Even more basic is the buzzing of the lips alone.” “The usual fault of students facing this playing problem is to permit the lip aperture to remain far too big in the upper register.”
from: ” The Art of Brass Playing’ by Phillip Farkas

“The lips are closed and semi-soft in the center.”
from: “Trumpet Isometrics” by Leon Merian

“Both lips touch each other all across the mouth.”
from “Super Chops” by Jerry Callet

“Moisten the lips slightly and with the lips lightly closed extend the lower jaw so the top and bottom teeth are aligned.”
from: “The Trumpeter’s Handbook” by Roger Sherman

You might also read Malek’s brass players survey 1954,.

A Survey of Moderm Brass Teaching Philosophies by Bellamah,

Artistic Trumpet Technique & Study by Bush,

Brass Playing Mechanism & Technique by Hanson,

Jakes Method by Don Jacoby,

Prelude to Brass Playing by Mendez,

The Psychology of Cornet & Trumpet Playing by Dr. Noble,

Along with the books that I quoted from. & of course

“The No Nonsense Trumpet From A-Z” &
“Trumpet FAQ’s” by me. They are found at http://www.Bbtrumpet.com

Pops

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