Pops playing to A under triple C. The key is to NOT over compress, not over tighten and not choke the sound.

Lip Buzzing and the Aperture Tunnel (TM).

Mouthpiece buzzing high notes is the best way to improve your range. Some high note players will not play a note in public that they can’t control when just mouthpiece buzzing.

Leadpipe Buzzing.

4 octave lip buzz.

Keith Fiala talking about Maynard Ferguson and how mouthpiece buzzing helps resonance,….

Didgeridoo for relaxing the face.

Keith Fiala on the didgeridoo for relaxation – part 1

Keith Fiala on the didgeridoo for relaxation – part 2

Pops and Keith on headaches and high notes.

Working on setpoint and Don’t Let the Sun Go Down.

Brandenburg 2

Buzzing to clear up sound.

The air starts coming through when the diameter gets too big for the player. (I asked him to play a piece that we knew was too big to get the sound for you to hear.)
Andrea Tofanelli and Pops Playing. Pops is off camera.

Training high playing aperture with super soft Clarke.

About Lip Setpoint and why it is important.

How and why we learned to play with too much tension. Knowing how it happened helps us learn to fix it.

Why and how to mouthpiece buzz.

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.

Buzzing low and loose to relax the face and lower tension.

Andrea Tofanelli on mouthpiece buzzing.

Low pressure grip for trumpet

Arban intervals page 125 line 1. Extended 1 octave both directions from G2 to C6.

Musical ideas and support on pic.

More on musicality on a Doc piece.

Andrea Tofanelli and Greg doing extreme stomach kicks for support.

Stomach kick to help range.

Me and Keith on closed throat and fixes.

Singing to help the sound.

Note pattern form Clarke Technical Studies in Improv.

Pentatonic Scale in Improv

Teaching support for high notes.

How we buzz changes our resonance.

Anchor Tongue and Whistle.

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