- Видео 44
- Просмотров 297 820
tonebase Trumpet
Добавлен 5 дек 2023
Online lessons, courses, and interviews with the greatest minds in trumpet.
Building Flexibility on the Trumpet
Watch the full course on tonebase Trumpet! Get started now with 50% off all plans during our Black Friday Sale!
➡️ join.tonebase.co/trumpet?
Brandon presents a comprehensive flexibility training course for all levels, beginning with pitch bends and simple slurs, progressing through articulation exercises and more extreme patterns, and culminating with advanced concepts in flexibility.
➡️ join.tonebase.co/trumpet?
Brandon presents a comprehensive flexibility training course for all levels, beginning with pitch bends and simple slurs, progressing through articulation exercises and more extreme patterns, and culminating with advanced concepts in flexibility.
Просмотров: 4 654
Видео
Navigating The World of Trumpet Mouthpieces
Просмотров 9 тыс.14 дней назад
In this RUclips feature, Allen Vizzutti shares his wisdom regarding the world of mouthpieces. How do we choose one? What criteria should we prioritize? He relates his own personal journey as well as the two key considerations he recommends everyone think about. Watch the full course and more with Allen Vizzutti on tonebase Trumpet! ➡️ trumpet.tonebase.co/?
Must-Know Vibration Principles For the Embouchure
Просмотров 7 тыс.Месяц назад
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! ➡...
Building Your Trumpet Daily Routine
Просмотров 1,3 тыс.4 месяца назад
Building Your Trumpet Daily Routine
The Secret to Successful Trumpet Practice
Просмотров 17 тыс.5 месяцев назад
The Secret to Successful Trumpet Practice
Why Trumpeters Should Practice Lip Buzzing
Просмотров 7 тыс.6 месяцев назад
Why Trumpeters Should Practice Lip Buzzing
Building Smoothness In Our Trumpet Playing
Просмотров 52 тыс.7 месяцев назад
Building Smoothness In Our Trumpet Playing
Day one of asking for a tone base horn channel
I have found the more I practice the better my equipment gets.
Beautiful sound
Ryan was a senior at CSULB my first year there. He and Jon Bradley were really influential in my early trumpet studies. Glad to see Ryan doing well.
Are you tonguing at the end of the pitch bends, or is that reduced air pressure?
super light tongue
I love how Brandon speaks about trumpet playing. Imo his ability to produce and control sound is exceptional. I'd like to see more of him on this channel... Thanks tonebase!
Watch the full course on tonebase Trumpet! Get started now with 50% off all plans during our Black Friday Sale! ➡ join.tonebase.co/trumpet?
It's pronounced Louie, it's French. You're saying Lewis
Nice. Going white boy, Hey you wanna make a bet? I bet I can sound just like him. How much you help me keep that.
We benefit from his huge experience, talent, humility and focus on musical sound - thank you
This is very helpful! Thank you! You have a gorgeous tone!
Very practical guidance. I saw a video about the impact of how far the mouthpiece fits into the leadpipe - the person recommended trying it in different positions by shimming with some paper etc. - of course they were selling a solution but it seemed legit. Have you experienced this affecting your sound?
Well said!
Thanks very much for those great explanations. Have a great day!!
What study are you playing mister ?
When I was in high school we went to UAB and waited for Allen in his dressing room. There was a poster of him in the room. A trumpet player and I started making jokes about the poster. Allen walks in behind us and starts making fun of himself. Great guy who was nice to two young dumb musicians
I never noticed, before, that Allen Vizzutti's lips are fuller and fleshier (especially the lower lip) than those of most top-tier players. And, when he played rapid slurs in the Hummel excerpt, I noticed an unusual twitch in his lower lip that made me think that he might have his tongue in contact with it. Can he or anyone tell me if Mr Vizzutti incorporates any unusual feature in his setup and embrouchure?
Allen was very technically gifted on the trumpet at a very young age and I’m sure that when he is playing he is not consciously thinking about small changes like that in his embouchure. From his own writing on playing the trumpet he primarily focuses on efficiency of his air stream(steady blow) and trying to produce the best sound he can as he hears it in his mind(aurally) When practicing, wide intervals are something that are learned mostly by feel and by using your ear. This is something that you get better at over time and many practice sessions. For practicing fast slurs you start slow and gradually increase speed over time (metronome helps) until it becomes something that is easy. Hope this helps!
I remember asking him about embouchure at an ITG and he said that he focuses on making everything feel the same. Loud, soft, low, high. At the time, I was very frustrated by that answer. As time has gone by, I think that was pointing towards efficiency and relaxation through sensation practice. Regardless, he’s an incredibly generous teacher and an absolute monster to hear live!
A great demonstration by a great player. Common sense is often rare, but here is a perfect example of it.
Thank you!
Watch the full course and more with Allen Vizzutti on tonebase Trumpet! ➡ trumpet.tonebase.co/?
So is there any practice to train face muscles for trumpet playing to play higher pitch or play high pitch for longer？
You kinda look like alan vizzutti
he is allen vizzutti
Ngl, i heard of it multiple times, still dont know what its name is
He mentions the name in the video, but it goes by quickly. "Napoli". One of the finest versions you'll hear is from Ole Edvard Antonsen. ruclips.net/video/elo0SPMo6qg/видео.html
@@EstateSaleShopper1 The title we usually use for it is "Funiculi, Funicula!" since it was used as a tourism jingle for a funicular railway in Naples. "Let's go to the top!"
What’s that from
I just know it as the Spiderman Pizza song, but it has a different name
@@Kylebuysyippeee "Funiculi, Funicula"
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😮😮