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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Double High C on Trumpet: Let’s Understand

Before we get into the technique, let’s understand what the double high C on trumpet means. Two octaves above middle C this note requires fine muscle control and precise air support. Unlike lower notes which rely more on lip flexibility, higher notes like the double high C require you to refine your Embouchure, Lip Setpoint, Anchor Tonguing, Breath Support, and airflow much more.

Step-by-Step Guide to Playing Double High C on Trumpet

1. Master Your Fundamentals

To play double high C on trumpet you need to get the basics of playing in the upper register down first. If you struggle with notes like high F, G or  A you need to focus on those first before you can attempt a double high C. It is like the basics of movement. We learn to crawl, walk and then run.

• Embouchure: Your embouchure should be firm but flexible. The muscles around your lips need to support the note without getting too tight. Start with notes in the high range and work your way up.
• Breathing: High notes need strong support but not a lot of air.  Practice learning how to take a half a breath. We do this on high notes because a really full breath makes it almost impossible to create good breath support. A full breath stretches the muscles that we need to use for support and hinders real breath support.  Without proper air support, you can’t reach double high C.
• Posture: Keep good posture so you can use good breath support. If my posture is bad then the 1st thing that happens when I pull my stomach is is that it lifts my chest and fixes my posture. Bad posture wastes our breath support on just fixing our posture.. Standing up or sitting up straight helps you get the most form your breath support.

2. Get Lip Flexibility

Flexibility is a key to playing high notes. One of the best ways to get flexibility is to practice lip slurs. Lip slurs are when you move between partials without using your valves and have to rely only on embouchure adjustments.

• Exercise: Start with low notes like G or C and work your way up the harmonic series (G, C, E, G, etc.). As you go up, focus on keeping your embouchure steady while adjusting airspeed and lip tension.
• Buzzing: Buzzing on the mouthpiece alone helps build the muscles for higher notes. Try buzzing the pitches of higher notes (starting with high C and working up to double high C) to build your embouchure.

3. Increase Air Support and Speed

When you play double high C the air needs to be more focused than when playing lower notes. Many players try to “squeeze” the note out but this results in a thin, strained sound.

• Support with Your Stomach: Make sure your breath support comes from your stomach. Pull your stomach in and up from the area around your navel.  Practice long tones in the high register starting with high C and working your way up to double high C. This will help you focus on the airflow.

4. Maintain a Small, Controlled Aperture

For some high notes, the aperture (the small opening between your lips) needs to be smaller than for lower notes. But don’t squeeze your lips too tightly together as this can kill the vibration needed to produce the sound. However; for our highest notes we also should create another aperture inside the mouth. Anchor tonguing we tongue these high notes with a tiss syllable creating a sound like a cobra hissing. This creates a good airstream focus that helps in playing strong high notes.

• Firm but Relaxed: Keep your lips firm enough to resist the air but relaxed enough to vibrate. 
• Embouchure: As you go up the corners of your mouth stay firm and the center of your lips vibrate. The higher you go the more you should focus on the center of your lips being soft and vibrating.

5. Gradual Practice with High Notes

You won’t get to double high C overnight. It takes time for your muscles and air control to develop to that level.

• High C: Start with playing high C consistently and strongly. Once you’re comfortable with high C, move up incrementally—high D, E, and so on.
• Rest and Recovery: High notes put a lot of strain on your embouchure so make sure to include rest periods in your practice routine to avoid injury and to allow your muscles to recover.

6. Use a Tuner to Check Intonation

Playing double high C on trumpet with good intonation is more important than getting to the note itself. Use a tuner to check your pitch as you practice. High notes can go sharp or flat if your embouchure or air support isn’t solid.

7. Mental Focus and Visualization

Playing high notes, including the double high C, is as much a mental challenge as a physical one. Visualize yourself nailing the note. A positive mindset will help you overcome the fear of going up high.

Trumpet Embouchure and Double High C

Double high C requires a strong embouchure. If your embouchure isn’t right, you won’t be able to hit the high notes. Focus on:

• Consistency: Buzz, long tones, lip slurs. Build strength and endurance and double high C will be easier.
• Embouchure Adjustments: As you work towards double high C, make small adjustments in your embouchure and air support. Everyone is different so find the balance between firm and flexible.

Conclusion: Trumpet Double High C

Playing double high C is a big deal and takes dedication, patience, and proper technique. It requires strong fundamentals, lip flexibility, more air support but less air mass or volume, and a disciplined practice routine. By working on small increments and having your embouchure and air in tune you can build the range and control to play double high C with confidence and clarity.

Remember progress is gradual and the journey to double high C is as important as the note itself. With consistent practice, you’ll get there and also improve your overall trumpet playing in the process.

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Air Leaking on Trumpet

Before we get into how to solve air leaking, let’s first understand what air loss is. Air loss on the trumpet means air escaping unintentionally while you play, either through the instrument or embouchure. Some air escaping is natural, but excessive air loss means weak tone, no resonance and reduced endurance. Here’s where this air loss can happen:

1. Instrument leaks: Mechanical problems or poorly fitting parts can leak air from the instrument itself.
2. Embouchure issues: Wrong lip placement or weak muscle control around the mouth can escape air.
3. Bad breath support: Poor breath control can disperse the air stream.

Knowing if the air loss is mechanical or technique-based will help you solve it better.

Common Causes of Air Leaks and How to Fix Them

1. Mouthpiece Fit and Placement

Sometimes air loss on trumpet happens because of a bad mouthpiece fit or placement on the embouchure. A loose mouthpiece can cause air to escape, and improper placement can prevent you from getting a good seal between your lips and the mouthpiece.

• Solution: Make sure the mouthpiece is in place and doesn’t move during playing. Put the mouthpiece in the center of your lips and experiment with slight adjustments until you find a position that minimizes air loss.

2. Embouchure Weakness or Inconsistency

Embouchure strength and control are key to air retention. A weak embouchure can cause air to escape at the corners of your mouth. This is common among beginners but can happen to experienced players too, especially during tough passages.

• Solution: Practice long tones and lip slurs to build up embouchure strength. Keep the corners of your mouth firm and let the center vibrate. Exercises like the “pencil exercise” where you hold a pencil horizontally with your lips can help you develop the necessary muscle strength and control.

3. Loose Valve Caps and Slides

Mechanical issues with your trumpet can also cause air leaks. Loose valve caps, tuning slides and spit valves can let air out and affect your sound.

• Fix: Check that all valve caps, tuning slides and spit valves are tightened. Periodically check your trumpet for wear and tear. A repair professional can also help diagnose and fix any mechanical issues that may be causing air leaks.

4. Improper Lip Seal

Air loss can happen if there’s no seal between your lips. This is usually when the lips are too loose or the embouchure isn’t formed properly.

• Fix: Focus on the lip seal. When you put the mouthpiece on your lips, don’t tense up but keep your lips firm to control the air. If you can’t get a good seal try buzzing on the mouthpiece alone to strengthen your embouchure and lip control.

5. Poor Breath Support

Air escaping from poor breath support is a common problem especially when the air stream isn’t being directed into the trumpet. When weak breath support can cause air to scatter and affect your tone and endurance.

• Solution: Practice breathing exercises to develop breath control and support. Engage your diaphragm by breathing deep into your stomach not shallow into your chest. Exhaling slowly and focused will help you direct more air into the trumpet and less leakage.
• Working on anchor tonguing also helps tremendously with creating a focused airstream and preventing air leaks.

6. Spit Valve

If the spit valve (water key) is not closed properly, it can also cause air leaks. Over time, the cork or rubber on the valve can wear out and become loose. Amado water keys also stick and often don’t close properly.

• Solution: Check the spit valve for wear and tear. If the cork or rubber is damaged replace it to get a tight seal. Oil amado water keys and keep things clean and moving freely. A professional repair technician can replace the spit valve parts if needed.

7. Inconsistent Tongue Position

Tongue position inconsistency can cause air to be disrupted and feel like air loss. If the tongue isn’t in the right spot it can get in the way of the air stream and cause turbulence or let air escape around the embouchure.

• Solution: Practice tongue position by using syllables like “ta” or “da” to focus your air. The tongue should be low and relaxed for lower notes and slightly higher for upper register notes. This will direct the air into the trumpet and minimize air loss.

8. Trumpet Position in Relation to Embouchure

Sometimes the way you hold the trumpet can affect how well you control air. Holding the trumpet at an odd angle can prevent your lips from sealing around the mouthpiece.

• Solution: Hold the trumpet straight out from your embouchure. Keep your posture relaxed to avoid tension that can disrupt airflow. Experiment with slight angle adjustments until you find the most comfortable position with minimal air escape.

Techniques to Improve Air Control and Minimize Air Loss

Once you’ve fixed any mechanical or positioning issues, try these to improve air control and reduce air loss:

Long Tones

Long tones help you focus on breath control and consistency of air. Start on a comfortable pitch and hold as steady as possible, paying attention to any air escape. This exercise will strengthen your embouchure and control of the air stream.

Lip Slurs

Lip slurs are great for embouchure flexibility and strength. Move between notes without valves to strengthen your embouchure and the seal between your lips and the mouthpiece. Lip slurs will also help you adjust air naturally for different pitches and reduce air escape.

Buzzing

Buzzing on the mouthpiece alone will help you develop your embouchure and air control. Buzz clear notes and keep the air focused. Buzzing exercises are good for the small muscles around your lips which are key to an airtight seal.

Breath Control

Breath control exercises like “in for four, hold for four, out for four” are good for building up muscle strength and control for steady air. Try exhaling through a straw or using a breathing tool to focus your air and diaphragm control.

Fixing Air Leaking on Trumpet

Fixing air leaking on trumpet is a combination of instrument maintenance, embouchure exercises, and breath control. By identifying the root cause – mechanical, embouchure, or breath support – you can take targeted action to stop the air leakage. Practicing long tones, lip slurs, and buzzing exercises will further strengthen your embouchure and breath control and you’ll be able to play with a clear tone and minimal air loss.

With time and consistent practice, you’ll be able to maintain better air, improve your endurance, and have more control over your trumpet playing. Make these exercises part of your daily practice and enjoy a more focused sound.

The post Solve Air Leaking on Trumpet: The Real Cause appeared first on BBTrumpet.

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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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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Lip tension, tongue arch (Please use Anchor Tonguing) and air speed are great for changing pitch in a particular register. But lip compression is needed in order to change registers. 

A combination of 6 things are NEEDED to play trumpet well. Close lip setting (aperture) + mouthpiece pressure (just enough to make a seal) + lip compression + lip tension + tongue arch (forward) & Air (speed and support).

These 6 points control the range of the instrument. There are many variations available in how these can be added together to play any one note.

It is possible to play a double high c with a close setting and compression only. Stevens’ static exercises are played that way. Adding some mpc pressure to that can flesh out the notes yet these can be done with almost no tension.

On the other hand lots of people play high c with an open lip setting lots of lip tension and mouthpiece pressure. With the lips pinned open there is no compression. This is tiring because of muscle fatigue from the tension and impaired blood flow through the lips caused by mouthpiece pressure.

In order to move from the open setting to a closed setting the player has to learn to relax the tension and back off on the mouthpiece pressure. Compression works far better than tension so both range and endurance improve.

Now to obtain a big full sound you need a balance of lip setting, compression, tension, mpc pressure, tongue arch and air usage. This balance changes by register. For example the low register needs more air mass to fill the bigger aperture but less air speed or pressure. The lips require little tension or compression. I have found that people can put the close setting to real use quicker by learning to relax the chops.

Trust me we all put some tension back in as we ascend. I have to constantly remind people (in the upper register) to relax some and take the workload off of the lips.

There is natural muscle tone (tension), there is loose and flabby, and there are stages of tightness (tension). You have certain levels or amounts of tension that you rely on for each register. (Some change tension every note, others by the difference in the harmonic series and still others by octaves.)

The dependence on tension, where and how much you change is based on how you use the other playing factors. Lip compression (lip against lip not facial or corner tension), lip setting (how close they are before the airstream starts), mouthpiece pressure (this can easily seal off the aperture an open setting needs 5 X as much as a close setting). Added to this is the way you use your air. In my case because of a close lip setting I use the normal resting facial tension on the entire 1st set of notes in the harmonic series (Low F# to low C). The next set (low C# to second line G) uses a little tension but far less than open aperture players do on low F#. In fact the 3rd set (second line G# to middle C) uses less tension than lots of people start with on Low F#.

Tension is tiring. It also adds stiffness to the lips and prevents a free vibration. Added stiffness is how tension helps to play higher notes but it restricts and limits the ease of tone production of the mid and low register.

One way to judge your tension level is to see how much of the face is involved. Under high C it should be completely limited to the lips and corners (1/2 ” away from the lips). I see a great many players who are tense in the cheeks (this robs you of endurance) and neck (this hurts your tone). Over high C I have tension in the area around the lips going out in all directions about 2 inches or so. My cheeks and neck never get tense.

Lip compression is the act of 1 lip pressing against the other. Like pinching the thumb and forefinger together. Inorder to do this with your hand the thumb must be touching the finger (there can be no air space between them), It works the same way with the lips.

There are 5 main ways that this lip compression is obtained.

1. The entire chop setting is drawn toward the center. Corners pulled in and top and bottom lip pulled together. Like the drawstring example in the Farkas book or the making a fist in Jacoby’s book or the diagram in Callet’s book. Three different embouchures that all use the same method of lip compression.

2. Using the muscles of the chin to push the lower lip into the top lip. This creates a knot of muscle at the chin and it moves the center portion of the lower lip.

3. Using the muscles of a frown to compress the lips together. The Roy Roman bulldog face. A frown will pull the top lip down slightly as it pushes the center part of the bottom lip upward.

4. Using the jaw to assist register changes. This is the way Roy Stevens taught. He started with a very open jaw (tooth) position. That way he could bring the lips in toward each other in more compression by moving the jaw upward. (This is fine if you make sure to keep the teeth apart at all times.)

The interesting part is these techniques work with more than 1 embouchure setting. (The lips do have to touch.) I gave examples of 3 different embouchure settings for #1 but that applies for all 4 types of compression above.

5. Is done by use of a pucker. The compression is partially created by the lips in their pucker and partly by the mouthpiece holding them in place. This can only be used in 2 of the 4 main embouchure systems.

Using Lip Compression is described in several books

Stevens-Costello Triple High C Embouchure, The Art of Brass Playing, Jakes’ Method, Brass Playing Mechanism and Technic, The Encyclopedia of the Pivot System, Super Chops, New Approach to Trumpet Playing, Trumpet Isometrics, Sail the 7 C’s, The Psychology of Cornet and Trumpet Playing, and The No Nonsense Trumpet From A-Z {my book), Trumpet FAQ’s (my book) (They are different from other books in that they are 90% text explanations and 10% exercises.

Pops

The post A Dynamic Embouchure appeared first on BBTrumpet.

Many trumpet players are too tense in both the face and their air to play low notes well. So they have Bad Sounding Low Notes.

I like to sigh haaaaa or daaaaa to tongue a low note. Sigh like when your are tired or trying to whisper.

Use the relaxed air stream to play the notes below Low C. Too much breath support makes it difficult to play those low notes well. Also keep low tongue levels and I actually roll the lips out very slightly. (I mean very very slightly.)

The lip aperture adjusts for both range and volume. Work on long tones include long crescendos and decrescendos. You know the stuff at the front of the Schlossberg. That teaches real aperture control.

I also like lip buzzing really low to help learn to vibrate well for low notes..

Lastly keep your higher Lip Setpoint (TM) even when playing low notes. If a player allows themself to lose that higher set then then need to break the mouthpiece seal to reset to play high.

Here is how I play pedal tones. I first play my 1 and only 1 Lip Setpoint (TM) which for me is G on top of the staff. I then play an arpeggio or scale down to the pedals. I breathe through my nose to keep my set and play a pedal exercise. I then play my G on top of the staff Lip Setpoint (TM) and play an arpeggio up at least 1 octave and usually 2. This way I learn to play the full range of the trumpet on one set.

Pops

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