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tonebase Trumpet
Добавлен 5 дек 2023
Online lessons, courses, and interviews with the greatest minds in trumpet.
Must-Know Vibration Principles For the Embouchure
All vibrating musical instruments share three principles: they must possess tautness, stability, and airflow. Charlie demonstrates using a hand drum, an acoustic guitar, a saxophone mouthpiece, and a blade of grass, before returning to the trumpet. He also proves these principles by demonstrating a synthetic embouchure!
Watch the full embouchure course with Charlie Porter on tonebase Trumpet!
➡️ trumpet.tonebase.co/?
Music From Charlie Porter:
ruclips.net/video/UAu3PsxdQqQ/видео.html
Watch the full embouchure course with Charlie Porter on tonebase Trumpet!
➡️ trumpet.tonebase.co/?
Music From Charlie Porter:
ruclips.net/video/UAu3PsxdQqQ/видео.html
Просмотров: 6 431
Видео
Building Your Trumpet Daily Routine
Просмотров 1,1 тыс.3 месяца назад
How do you know what to include in your warm-up? While your warm-up should be personalized, you can start with an already established routine and adapt it or build one from scratch. In this RUclips feature, Ben Gunnarson does a little of both and shares when and why to shift your warm-up as you grow as a musician. Watch the full course on tonebase trumpet! ➡️ trumpet.tonebase.co/?
The Secret to Successful Trumpet Practice
Просмотров 15 тыс.4 месяца назад
The Secret to Successful Trumpet Practice
Why Trumpeters Should Practice Lip Buzzing
Просмотров 6 тыс.5 месяцев назад
Why Trumpeters Should Practice Lip Buzzing
Building Smoothness In Our Trumpet Playing
Просмотров 47 тыс.6 месяцев назад
Building Smoothness In Our Trumpet Playing
Yes, but that action manipulates the jaw and, therefore, the chops. It has nothing to do with " airstream behind the lips"
Chris, thank you! I humbly took in your message and it resonated with me. You seem like a quite good teacher. About to retire but got started in trumpet the usual path, 5-12 grades then a long 40 year break. Currently playing in the Odessa Baptist Church praise team and often get stage fright - dry mouth and nervous quaver. Will explore the suggestions you gave. Will look for more of your tutorials.
The problem is me being too excited to sound like a badass with a new song I want to jam out with. Lolz Currently digging this 80’s song called Holding Back The Years by Simply Red. It’s got a nice trumpet melody in it. And the whole song sounds good on the trumpet, I find.
Some tunes just don’t transcribe well on the trumpet. Especially smooth seamless chromatic melodies. You have to really master note bending for those.
Lovely playing and control. What was on his teeth? Camera left, if you pause at the right time there is some kind of yellow rubber or silicone insert covering his canines and pre-molars?
Nice one Ryan! great to hear you play - solid tips, balance (in life and trumpet playing) is key!
I dig the concept of laying out all the components of "how" we make sound. But, respectfully, we do not need air FLOW to make sound. Like the drum or guitar, there is no "flow" of the air. The air is needed to transfer vibrations, but like waves in a puddle flowing air isn't needed. However, to CREATE the waves/vibrations we brassers need to get the lips to vibrate like that drumhead or guitar string, and THAT requires air FLOW. Air flow is also needed to make the sax reed wiggle back and forth (vibrate). Years ago I saw a demo at ITG in which the exhibitor placed a piece of thin, rigid plastic over the mouthpiece (possibly a laminated index card?) and used a Dremel-like device to rapidly beat the plastic - essentially turning the mpc into a tiny hand drum - and the sound out of the bell was surprisingly close to a trumpet sound! Speed up the Dremel, the pitch climbed up, even to the point of hopping to the next harmonic. Air flow and 'correct' tensioning IS the only way to get the lips to vibrate, but that air flowing through the horn does not create the sound. (I know I'm picking nits here, and I wholeheartedly agree with using terms like air flow when teaching as a concept, etc. But acoustics is acoustics. NB: don't even get me started on "push from your diaphragm"!) Love your work, love your recordings! Keep us all thinking and talking about this stuff.
This is a phenomenal video with an incredible player and teacher, but I have to admit it’s pretty off-putting as a band director to hear world class players use “band room” as an implied pejorative.
Im a singer, ALL of your tipps work for the singing voice as well
Basically, correct. The lip firmness or posture is the exclusive controller of the partial played. There is no other direct contribution to the determination or control of pitch. That includes tongue position or air pressure. But lip posture includes the natural elasticity of the lip tissue PLUS the added firmness of the muscular action. (Increases to ascend) Then, we vary the air pressure to control dynamics. The popular "air speed " explanations are just metaphorical constructs derived from misunderstood air mechanics.
I have to play high notes a lot in marching band and my instructor is saying I sound terrible when playing a shallow cup. I’m switching it to a Jerome Callot 6s and I love the cushion but if it still sounds bad do you have any tips for making it sound better?
"your muscle" *Instinctively flexes*
Always so interesting Charlie TY to share !
Best explanation I’ve heard
Ditto
The pitch is determined by the frequency at which your lips are vibrating during that buzz. Without enough tension provided by your face, your lips cannot allow the lips to buzz at a fast enough frequency to play higher. the throughput of air needs to be sufficient for the lips to buzz, but identical throughputs can play in many different frequencies. Lip resistance is definitely the primary mechanism.
Resistance increases at the aperture with each ascending partial. But it is the increasing firmness that increases the frequency of pulsations. The increasing resistance at the lip aperture contributes to reducing efficiency (unfortunately) for each ascending partial . That is why higher tones require a bit more air pressure than low tones to play similar dynamics. Frequencies are not "fast" or slow. They are just greater or not. Air effort also varies with dynamics on a constant pitch, so there is no distinct air effort for any single pitch either.
Basically you can modify the pitch by doing all these things. Some are more efficient than others…
If the lips do not change, the pitch played doesn't. The tongue position has no direct effect on pitch but is concurrent to lip posture manipulation.
@@BrassBro-Science-ys7sg This may be technically true, but it’s not practically true, as tongue placement, air control, etc. are all critical factors for “guiding” the chops
@BlueAvianProductions The only thing one can directly control of air is the pressure . And that controls dynamics not pitch.
@@BrassBro-Science-ys7sg You can control air speed. Air pressure doesn’t just change dynamics, it can affect quality, and any other part of your trumpet playing due to the *balance* of variables - e.g. if you’re increasing air pressure, that is going to affect other parts of your system depending on how you’re achieving increased air pressure. A significant problem with your analyses is you think these variables are more independent than they are when you consider that a human being will be playing the instrument. Your statements are sometimes true from a mechanical perspective, although, what you just said about air isn’t even true from a mechanical perspective…
@BlueAvianProductions the variables are independent, but the actions are often not independent because of physical habits and body functions.. Air speed is actually quite irrelevant and varies inside the system with location and time. There is no THE air speed, which is actually known or of concern. There is also only ONE direct control of the source air pressure by the player, and that is lung pressure determined by exhalation ( or inhalation) effort. The tongue can then only attenuate ( reduce) that air pressure that reaches the player's lip aperture. Mainly for articulation . There is no further pressurization of the lung air pressure possible by the tongue or lip aperture. That concept of "air compression" by the tongue is a popular myth and simply impossible when playing from lung air pressure.
The Reinhardt way to lip buzz, which was prescribed to strengthen and firm up a flabby chin and mouth corners and improve overall sound. The Reinhardt way was to follow certain guidelines that included: Never lip buzz on a fatigued or tired embouchure, always thoroughly saturate your lips with saliva, even if you normally play dry, always buzz with the airflow going downward, NEVER tongue attack a lip buzz, always use a whoooo no tongue air attack (this is to increase embouchure vibrating fluency) and avoid lip buzzing below 2nd line G.
👍 Very detailed analysis!
What a waste of time that was 🤷♂️👎🤮🏴
?
Man, this guy is good with a great sound to die for 🤤... I want to learn more...than you for posting 🎶✨️🫶🏾🔥
Brilliant as usual! ❤
Watch the full embouchure course with Charlie Porter on tonebase Trumpet! Click the link below to get started with a 14-day free trial! ➡ trumpet.tonebase.co/?
Fails to establish his concept at the beginning.... and explain WHY he's recommending his concept. A lot of seriousness does not supplant the value of a true tip.
It’s just an excerpt. Relax.
@@stevekalesia7933 You're so relaxed, you don't strive for excellence, including any expectation from a supposed master regarding his expression of a concept he deems to be EXTREMELY important. Whomever is posting this "short" should recognize that the snippet will be viewed as a short with its own inherent message despite whatever context the rest of the video contains. In short, the short must stand on its own. Otherwise, its potentially problematic.
Thanks very much Allen, there is so much gold in this 10'. Kind thoughts Dave Henry RAAF Big Band Australia (retired).
Berelent sounds like a muffled ferench horn berthing though the noise is for Caruso
Notice the CONTROL...
Cool😮😮
What a lovely sound. Sometimes I'm inspired, sometimes I want to sell my horn.
If you TRULY want to be good, then you purposely spend time in the LOW REGISTER. It's part of process called "Pushing the Rocks Back." I do much more than just single note exercises. You will learn quickly that you need MORE AIR than you probably expected.
Wonderful lesson.
Brandon PUSHES a few notes in ways that don't match the lightness of the Baroque style.
Adolf Scherbaum...
This is perfect and an inspiration to go practice the most beautiful sound I can make on the trumpet. Thanks David!
Awww little Bill Gates junior. Gonna cry?
the fuck dude?
Really good tip not to go instantly strong in high register but rather build the high notes. Thanks for the advice.
did anyone else think A-Team by Travis Scott soon as he played that first note?
*blinks* uhhh…. you were an isle unto thyself….
Top G! 😂
Wait is that a G or an F?
G
Trumpet g, it's a concert f
@@tbonetime3568 *confusion* please explain
@ohgodno some instruments like trumpets don't read in concert pitch, so on a trumpet what they call a g is an f and what they call a c is a b flat, why it's like that idk but that's just how it is.
@tbonetime3568 The reason they do that is to match the range better to a staff. The other solution is to make a new clef (hence alto clef for violas)
Here's proof of my position... from the great WAYNE BERGERON who DEMONSTRATES that buzzing doesn't work. ruclips.net/video/fzB7r9C_LrU/видео.html WHY do something that doesn't truly help you, when playing the actual horn ALWAYS WORKS ????
First 🎉
Lip buzzing does not have very much to do with producing sound. The sound is really buzzing the lips, not the other way around. No human creature can make the lips themselves buzz at 1000 or 2000 hz, which ist in the register of a trumpet. This old video (ruclips.net/video/MVs2G60-ilo/видео.html) with Professor John Harbaugh of Central Washington University where he teaches trumpet, shows what really happens when sound is created in a tube - which a trumpet basically is. If the buzzing is more of an exercise to strengthen and control the muscles for controlling the dynamics of the sound, I would agree more. Apart from that, I like your video.
The best relationship advice I’ve heard all week
Just buzz off already.
Thank you so much ❣️😭. . .
Gorgeous tone
Great advice! Thank you! I heard you at the 1973 Trumpet Symposium in Denver with the Eastman faculty brass quintet!
Can’t believe you missed out not only the person that first played this arrangement but also the person whose sound and articulation have arguably never been matched on the Piccolo Trumpet. Maurice Andre.
I mean, Maurice Andre was one of the first to really push the piccolo to his capabilities, but I wouldn't say he "refined" piccolo playing, that would be something done by Otto Sauter and Hakan Hardenberger.
@@indianam9689 respectfully I disagree. Hardenberger is an amazing trumpet player and I love him but Andre’s playing in particular his piccolo playing has not been matched. Regardless of whether you like his interpretation or indeed his personality. I am someone that thinks the trumpet has indeed ‘moved on’ in many ways but Andre still sits at the top of the pile.
@@bd1845 I also love Maurice's piccolo (in particular his interpretation of Mozart's oboe concerto, I suggest it!), but historically Otto and Hakan revolutionized piccolo playing, check for example Otto Sauter's recording (studio recordings, the older ones) of Molter concertos, he plays really differently from Maurice. It's 2 different ways of playing the piccolo, usually players nowadays choose which to study.
@@indianam9689 that was not revolutionary. Andre totally revolutionized piccolo playing they carried it but certainly did nothing new. Michael Haydn, Richter, Molter Andre did them all and have certainly never been ‘beaten’ or taken a step further. He did all those Oboe, flute, violin transcriptions that everyone then copied.
@@bd1845 They did revolutionize it, Hakan moved on but Otto kept specializing in the piccolo and nowadays his way of playing the piccolo is considered better than how Maurice played it at least in the technical aspect (it allows to perform concerts like Querfurth live). Also, Otto registered a lot of piccolo pieces that were not played by Maurice. Then obviously I can agree that Maurice is overall the better trumpet player, if you ask everyone you'll always going to get the same 3 answers: Sergei, Timofei and Maurice.
you are wasting my time
What trump model is that please ? What a beauty my god.!❤😂
Yamaha artist series Vizzuti model in gold plate.
Is his tuning slide pushed all the way in?
It's close! 😆