I’m a 45 year old “professional” trumpeter and just learned the whole idea of ‘rolling in’ your bottom lip 4 months ago. This came from needing to take lessons to be able to play lead trumpet for big band. I have always been a sectional player and thought “I’m doing just fine. Let the apes grip-it-and-rip-it.” However, after I learn about the ‘roll in’, I started looking at videos super closely at major trumpeters and notice every ONE of them have a degree of ‘roll in’. After 4 months of doing this (just in warm up and not using it in performances yet), I have notice my sound is getting bigger, more full and my range is increasing. To those they say this is wrong, please think of guidances like this: it isn’t absolute nor completely literal. I started with a literal full roll over my bottom teeth and I hated it! Then I learned to relax and just think (picture in my mind) what it should look like to MY eyes and what I should sound like. I’m calling it “active long tones”. Before, I would read the paper or stocks while going through my long tones and Clarks. Lol
Scott thanks for this video. In the early 1970’s I developed chop problems because I was a down stream player and had to play high notes as a lead player. I then studied with Roy Stevens in New York City for 3 years. Roy knew what was happening in side my mouth and could duplicate it and how to correct it. Also he could diagnose the outside set up. After 2 years of study I had all of the notes consistently low F# to double C. In practice in his studio I could play up to a triple Eb. I could play those notes in big band lead, casino show bands, concert bands, combo work and symphonic orchestra’s. I could end on a double C as big as a house other band members could not believe it because it did not sound that high to them but it was and they could check it. I correctly play all those notes up until a year ago when I unfortunately fell down a full flight of stairs and had broken all my bones on the left side, concussion, punctured lung, liver laceration, shattered collarbone and broken sternum. But the most important to me was I loosened my bottom and top teeth. I can no longer play because my teeth were so unstable. The reason I enjoy your videos is you have great insight in the set-up. I would like to talk to you to explain more. Please send me your email with your phone number if you like. John jad1175@aol.com
Great video and thanks for sharing! I went through a very similar experience when I went to college. While I’m not a music major, I do enjoy playing. I made the change you describe after trying all sorts of changes and found that after some time I started to improve accuracy and endurance. When I started my top note was barely a high C above the staff. After working for a number of months my range increased to a G above that C. I stopped playing when I left college and now have started again so 35 years later! It’s amazing how much that set-up is helping. Thanks again for sharing and you have a great sound!
This is good stuff, Scott. I have taken a few lessons over the years with Ed Cord, now Professor Emeritus of Music at Indiana University, and he always has me find the sweet spot by using an exaggerated slow, wide vibrato. Works every time. The difference in the sound of someone playing where the horn resonates versus where it doesn't is immediately apparent to a seasoned listener. And to the player, to hear and feel the ease with which you can produce a nice big sound with less effort by finding the sweet spot and letting your horn/mouthpiece combination do the work is startling! Thanks for making a video that demonstrates this so well.
Glad I found this video. Just got back to the horn after almost 6 decades. Semi-retired so I'm able to practice a bit longer these days, though still not as long as I'd like. And over the past year, I've noticed enough improvement to feel pretty good about most of my practice sessions. Still a long way to go. Will definitely check out your other videos!
Adam Rapa talks more or less about your aproach too. "Sit on the note" and he uses bending notes to find that spot! It seems that you brilliant players find a similar way...very interesting. The attack (a brute word in music), startinh the note, beginning the note ... have you a comment on thiae who uses TCE like Ralph Salamone and Rich Colquhoun does? Thanks for your time. Erik Denmark
Wow I could listen to you play all day and night. You put that lead mouthpiece in and that horn just wanted to scream and perform yet other times the soft intonation is so soothing to my soul. Please keep talking to us how you do what you do. Is there a schedule of your performances I could hear live/ in person?🙏
Great stuff but I'd like another whole video on the embouchure setup, preferably with a visualizer. Or just repeating the setup over and over with some tighter framing and different angles. It uz that important. Charlie Porter and Greg Spence are other guys I follow with the same concepts but your videos are easier to follow.
Great insights! Memphis is my hometown, and I’m glad to see you sharing this content Question: What are your thoughts regarding playing with drones to work on intonation?
Thanks for watching! Re drones, I think it's extremely important to practice with any kind of tool that engages your ears, be it drones, backing tracks, or anything similar. A huge chunk of my practicing is done while I am listening and playing along with something else. I actually have done quite a bit of work with the iReal Pro app over the past few years. It has developed my ears in ways that I didn't expect when I first downloaded it.
@@ScottMooreMSO thanks again for your advice. Recently I’ve experimented with your tips. I suspected that I might be playing high on the pitch. So for two weeks, I committed to push my tuning slide further in for and play lower on the pitch. At first, i felt like a middle school beginner. Playing “down” on the pitch felt like keeping a yoga ball under water, and it was not comfortable or familiar So, I spent three days doing lip bends on a middle g just to find where it’s resonating. I had to record myself to see where the tone was resonating more (because the feedback from behind the bell felt so different, I wasn’t sure if I should trust it) I’m about a week in, and I’m glad I’m making this shift. The tone is much more full and vibrant…and that gives me a wider tonal palate to choose from. Slowly but surely, playing “down” is beginning to feel more natural. And I’ve been doing drone work to help me acclimate to the new slide position
Hello Mr. Moore, thanks for the tips, I find myself very inconsistent, sometimes I get all the right notes but when I perform, sounds don't come out at all! I don't play on the red; I changed to put the mouthpiece outside of the red, but after doing the "hide the red" I found myself unable to play the low notes, so I "opened up" a little but then now sometimes just air comes out with no sound!
Hi Judah. Low notes will come with time. If you open up, always remember that the lips need to vibrate for sound to happen. Don't open up to the point where the lips can't vibrate. Stick with it, this is not an instant fix! Good luck!
Hi Mr. Moore. I'm now 65 and have Always had trouble reaching anything over a High C. After watching your previous video on embouchure formation and the "M", I decided to see exactly where I was. Sure enough, I'm in a world of trouble. When I compared the "M" method to what I was doing I realized that I am playing on the Red on my Upper lip. And here's why: my Left incisor is slightly twisted with the Center side of that tooth protruding outward. I have spoken with my Dentist in the past concerning the possibility of having an upper InVisilne system made to move the tooth into normal position. His response was that at my age it would just move back over time. I'm thinking that since I am playing more often now than during the past 20 years, it would most likely stay in place. Anyway, I'm just wondering what your thoughts are on my situation. As far as what and where I'm playing, I play mostly on our Church Worship Team playing Flugelhon, Bb & C Trumpets, Sometimes a Bb Cornet and also a Valve Trombone. I am able to switch between the upper & low brass fairly quickly. I just do NOT have the range on my upper brass. Having said that, I do find that my Wm Spencer C Trumpet is quickly becoming my favorite. thanks. Bob Bersin
hi Scott. I tried your embouchure suggestion about playing at the thin outer edge of the lips. I immediately was able to play a high C even a high D. I got excited and played for about 15 minutes doing this because I loved the sound. after that time though, my lips stopped being able to vibrate. is this due to it being tired, or is it lip swelling.. IS THIS NORMAL? thanks!!
I mean, I get tired after playing high C and D for 15 minutes, but you do you! I'm of the mind that we don't build strength in the upper register, but familiarity. The more time you spend playing there, the easier it is. Thanks for watching and GOOD LUCK!
@@ScottMooreMSO thanks for telling your story as well. do you roll your lips back over your teeth at all? or is it simply saying MMM and then tensing up the regular muscles to set you embouchure? I love the sound you get. it is open and beautiful. I would really like to emulate your playing and system, since it works. Any chance I could get a online lesson?(more of an interview asking you some questions on your technique) I have read every method system I could find,: Anderson, Claude Gordon, TCE, etc. and want to see if there are parallels. Since you had many embouchure changes. I have also struggled, I am actually a comeback player, but my useable range was never more than a G on the staff. I would say I have played for 4 years in total, but haven't played for 25 years. I quit because I was so frustrated. I didn't know at the time I was over practicing. I find it's a discipline for me to stop when I get tired. Anyway, thank you for reading. best/Doug
Just a simple "thank you". Your videos are helping me a lot to re-learn the trumpet. Or, must I say, re-understand.
That's great to hear, Michael.
Thank you! You communicate so well the the necessity of securing a set embouchure with the capacity for immediate response, brilliant analysis
Thank you so much sir😆
I’m a 45 year old “professional” trumpeter and just learned the whole idea of ‘rolling in’ your bottom lip 4 months ago. This came from needing to take lessons to be able to play lead trumpet for big band. I have always been a sectional player and thought “I’m doing just fine. Let the apes grip-it-and-rip-it.” However, after I learn about the ‘roll in’, I started looking at videos super closely at major trumpeters and notice every ONE of them have a degree of ‘roll in’.
After 4 months of doing this (just in warm up and not using it in performances yet), I have notice my sound is getting bigger, more full and my range is increasing. To those they say this is wrong, please think of guidances like this: it isn’t absolute nor completely literal. I started with a literal full roll over my bottom teeth and I hated it! Then I learned to relax and just think (picture in my mind) what it should look like to MY eyes and what I should sound like. I’m calling it “active long tones”. Before, I would read the paper or stocks while going through my long tones and Clarks. Lol
Excellent advice, thank you
Scott thanks for this video.
In the early 1970’s I developed chop problems because I was a down stream player and had to play high notes as a lead player.
I then studied with Roy Stevens in New York City for 3 years. Roy knew what was happening in side my mouth and could duplicate it and how to correct it. Also he could diagnose the outside set up. After 2 years of study I had all of the notes consistently low F# to double C.
In practice in his studio I could play up to a triple Eb. I could play those notes in big band lead, casino show bands, concert bands, combo work and symphonic orchestra’s. I could end on a double C as big as a house other band members could not believe it because it did not sound that high to them but it was and they could check it.
I correctly play all those notes up until a year ago when I unfortunately fell down a full flight of stairs and had broken all my bones on the left side, concussion, punctured lung, liver laceration, shattered collarbone and broken sternum. But the most important to me was I loosened my bottom and top teeth. I can no longer play because my teeth were so unstable. The reason I enjoy your videos is you have great insight in the set-up. I would like to talk to you to explain more.
Please send me your email with your phone number if you like.
John
jad1175@aol.com
Hope you are better man and be able to play to your tops once more.
Thank you Scott!! Keep them coming!!
Great video and thanks for sharing! I went through a very similar experience when I went to college. While I’m not a music major, I do enjoy playing. I made the change you describe after trying all sorts of changes and found that after some time I started to improve accuracy and endurance. When I started my top note was barely a high C above the staff. After working for a number of months my range increased to a G above that C. I stopped playing when I left college and now have started again so 35 years later! It’s amazing how much that set-up is helping. Thanks again for sharing and you have a great sound!
This is good stuff, Scott. I have taken a few lessons over the years with Ed Cord, now Professor Emeritus of Music at Indiana University, and he always has me find the sweet spot by using an exaggerated slow, wide vibrato. Works every time. The difference in the sound of someone playing where the horn resonates versus where it doesn't is immediately apparent to a seasoned listener. And to the player, to hear and feel the ease with which you can produce a nice big sound with less effort by finding the sweet spot and letting your horn/mouthpiece combination do the work is startling! Thanks for making a video that demonstrates this so well.
Glad I found this video. Just got back to the horn after almost 6 decades. Semi-retired so I'm able to practice a bit longer these days, though still not as long as I'd like. And over the past year, I've noticed enough improvement to feel pretty good about most of my practice sessions. Still a long way to go. Will definitely check out your other videos!
Thank you for such excellent advice.
Thank, Scott! Great video. John.
Great video - spot on pedagogy! Thank you.
Love your sound. Where can I hear you more?
Your tone is fantastic! Bravo
Adam Rapa talks more or less about your aproach too. "Sit on the note" and he uses bending notes to find that spot!
It seems that you brilliant players find a similar way...very interesting.
The attack (a brute word in music), startinh the note, beginning the note ... have you a comment on thiae who uses TCE like Ralph Salamone and Rich Colquhoun does?
Thanks for your time.
Erik
Denmark
Thank You Scott. You’re a big help to me starting back up
Thanks for all you do Scott!
Great content, Scott. Keep it coming you make so much sense.
Wow I could listen to you play all day and night. You put that lead mouthpiece in and that horn just wanted to scream and perform yet other times the soft intonation is so soothing to my soul.
Please keep talking to us how you do what you do.
Is there a schedule of your performances I could hear live/ in person?🙏
Great stuff but I'd like another whole video on the embouchure setup, preferably with a visualizer. Or just repeating the setup over and over with some tighter framing and different angles. It uz that important. Charlie Porter and Greg Spence are other guys I follow with the same concepts but your videos are easier to follow.
Is red of my lip protruding into the cup a likely cause of a double buzz/split octave thing I sometimes am beleaguered by???
Great insights! Memphis is my hometown, and I’m glad to see you sharing this content
Question: What are your thoughts regarding playing with drones to work on intonation?
Thanks for watching! Re drones, I think it's extremely important to practice with any kind of tool that engages your ears, be it drones, backing tracks, or anything similar. A huge chunk of my practicing is done while I am listening and playing along with something else. I actually have done quite a bit of work with the iReal Pro app over the past few years. It has developed my ears in ways that I didn't expect when I first downloaded it.
@@ScottMooreMSO thanks again for your advice. Recently I’ve experimented with your tips. I suspected that I might be playing high on the pitch. So for two weeks, I committed to push my tuning slide further in for and play lower on the pitch.
At first, i felt like a middle school beginner.
Playing “down” on the pitch felt like keeping a yoga ball under water, and it was not comfortable or familiar
So, I spent three days doing lip bends on a middle g just to find where it’s resonating. I had to record myself to see where the tone was resonating more (because the feedback from behind the bell felt so different, I wasn’t sure if I should trust it)
I’m about a week in, and I’m glad I’m making this shift. The tone is much more full and vibrant…and that gives me a wider tonal palate to choose from.
Slowly but surely, playing “down” is beginning to feel more natural. And I’ve been doing drone work to help me acclimate to the new slide position
@@triplej38118 that's fantastic!!! Great analogy re the yoga ball. I hope things continue to improve for you.
@@ScottMooreMSO thank you!
Hello Mr. Moore, thanks for the tips, I find myself very inconsistent, sometimes I get all the right notes but when I perform, sounds don't come out at all! I don't play on the red; I changed to put the mouthpiece outside of the red, but after doing the "hide the red" I found myself unable to play the low notes, so I "opened up" a little but then now sometimes just air comes out with no sound!
Hi Judah. Low notes will come with time. If you open up, always remember that the lips need to vibrate for sound to happen. Don't open up to the point where the lips can't vibrate. Stick with it, this is not an instant fix! Good luck!
@@ScottMooreMSO thank you so much for the quick reply. Yes I think the problem is when I open up, it kills the vibration.
By the way what mouthpiece is that on your C trumpet, in the other video about embochure
@@judahryoo9017 that's a Monette C11 Prana STC. This video is a C11S1 Prana Resonance. I'm back and forth between the two a lot.
Hi Mr. Moore. I'm now 65 and have Always had trouble reaching anything over a High C. After watching your previous video on embouchure formation and the "M", I decided to see exactly where I was. Sure enough, I'm in a world of trouble. When I compared the "M" method to what I was doing I realized that I am playing on the Red on my Upper lip. And here's why: my Left incisor is slightly twisted with the Center side of that tooth protruding outward. I have spoken with my Dentist in the past concerning the possibility of having an upper InVisilne system made to move the tooth into normal position. His response was that at my age it would just move back over time. I'm thinking that since I am playing more often now than during the past 20 years, it would most likely stay in place. Anyway, I'm just wondering what your thoughts are on my situation. As far as what and where I'm playing, I play mostly on our Church Worship Team playing Flugelhon, Bb & C Trumpets, Sometimes a Bb Cornet and also a Valve Trombone. I am able to switch between the upper & low brass fairly quickly. I just do NOT have the range on my upper brass. Having said that, I do find that my Wm Spencer C Trumpet is quickly becoming my favorite. thanks. Bob Bersin
hi Scott. I tried your embouchure suggestion about playing at the thin outer edge of the lips. I immediately was able to play a high C even a high D. I got excited and played for about 15 minutes doing this because I loved the sound. after that time though, my lips stopped being able to vibrate. is this due to it being tired, or is it lip swelling.. IS THIS NORMAL? thanks!!
I mean, I get tired after playing high C and D for 15 minutes, but you do you! I'm of the mind that we don't build strength in the upper register, but familiarity. The more time you spend playing there, the easier it is. Thanks for watching and GOOD LUCK!
@@ScottMooreMSO thanks for telling your story as well. do you roll your lips back over your teeth at all? or is it simply saying MMM and then tensing up the regular muscles to set you embouchure? I love the sound you get. it is open and beautiful. I would really like to emulate your playing and system, since it works. Any chance I could get a online lesson?(more of an interview asking you some questions on your technique) I have read every method system I could find,: Anderson, Claude Gordon, TCE, etc. and want to see if there are parallels. Since you had many embouchure changes. I have also struggled, I am actually a comeback player, but my useable range was never more than a G on the staff. I would say I have played for 4 years in total, but haven't played for 25 years. I quit because I was so frustrated. I didn't know at the time I was over practicing. I find it's a discipline for me to stop when I get tired. Anyway, thank you for reading. best/Doug
@@CanadianDivergent email me at memphistrumpet@gmail.com and we can discuss an online lesson.
@@ScottMooreMSO will do! thanks!
I find with my Monette I play my Bach Stradivarius with the main slide all the way in
Same here. With all my horns.
I always push hard against my teeth to get high notes. Never had a good embouchure.