Trumpet Tip... Over Blowing Cure
HTML-код
- Опубликовано: 7 июл 2018
- Virtually all players over blow at one time or another.... Occasionally, I even saw Maynard over blow, and he was THE master of pacing.... :) MF Protocol video links here.... vimeo.com/ondemand/31871 vimeo.com/ondemand/31870 Mouthpiece links here.... james-r-new.com/affiliates/lyn...
![MURDER DRONES Series Finale [TRAILER]](http://i.ytimg.com/vi/p6mhC5Iatns/mqdefault.jpg)
The below info may or may not be useful to the point of this trumpet tip--to provide players with the means to recover from and minimize destructive over blowing. Just happened to realize that the restrictive nature of the mute also slows down the air, so proves again that fast air alone doesn't make you play higher.... Mentioning same has apparently brought up more questions regarding upper register trumpet playing and trumpet sound production in general, so I offer the following.... Proceed at your own risk.....
First some basics. Bob Reeves explained to me in 1975 how sound production takes place on the trumpet. In simplest terms, we do not buzz the chops to produce a note. Instead, we first blow air into the horn. The chops then vibrate as a secondary response to the correct application of air. When he told me this, I experimented for about 30 seconds, and realized he was absolutely correct. Been approaching the horn that way ever since, with extraordinary results.... :) A sound wave is produced as the mechanical air stream interfaces with the more esoteric acoustic resistance of the hardware. When everything is correct, response is lightning fast and appears spontaneous, as the note is produced. In a perfect world, the hole in the mouthpiece acts as the main source of resistance, although for many players, their primary source of resistance takes place in their chops, tongue, throat, etc, BEFORE the air even reaches the hardware. This internal tension is primarily why most players top out at G-A. Tension is a killer, in trumpet and in life. Properly employed, the MF Protocol prescribes iincreased relaxation of the chops while ascending, allowing the air stream to enter the hardware unencumbered. If there are any doubts, look at any photo of Maynard and you will see that his chops are unfurled and relaxed--always, and progressively more as he ascends, enabling his chops to vibrate all the way across, all the time, for a uniform/big sound in all registers. I had him buzz on a rim in 1974, and sure enough, he vibrated all the way across with a VERY relaxed vibrating surface.
Okay, enough basics. To your questions, compression from the abs/intercostals changes the pitch. These are the muscles you use when you cough. As described in the process above, this acoustic reflection causes, the chops to vibrate. For complicated reasons, the greater the compression from the abs/intercostals, the faster the chops vibrate. In the interest of efficiency, the tongue and other elements are also minimally active, since the air must be directed to precisely match the inner diameter of the mouthpiece. However, the tongue is NOT to be used as a coarse compression device. As shown in the below video links, compression for each pitch is the same, loud or soft. As repeated more times than I care to remember, playing the note softly clearly has much less air speed going through the constant, the hole in the mouthpiece, even in the extreme upper register. And to be clear, I'm not suggesting slower air as a means to play higher. Air speed only relates to loudness. If you haven't seen my videos on compression and the guitar string myth, please take a quick look now....
ruclips.net/video/WwIdCzOccJU/видео.html
ruclips.net/video/YzHe7SOOZIM/видео.html
Yes, you can change the pitch by tensioning the tongue, throat, chops, etc. However, overly tensioned chops produce a smaller sound, since this approach generally results in a narrower horizontal vibrating surface and associated lack of precision, resulting in mosquito-like high notes. Too much arch of the tongue reduces the oral cavity, also resulting in a smaller sound, and difficulty tonguing upstairs, since the tongue is doubling as a coarse compression device. A overly tensioned/constricted throat acts as a global restriction in the playing apparatus. Bud Brisbois is an extreme example of a low tongue position. While playing, his tongue was observed, via floroscope (sp?), always in the bottom of his mouth. However, Bud did lots and lots (I was told 1000, but probably a figure of speech) of sit-ups per day to strengthen his stomach muscles, and no one played more consistently higher than Bud.
Finally, sound production on brass instruments is not directly analogous to anything else, including, but not limited to, vibrating strings (see video), fluid dynamics (air is compressible, fluid is not), paper flapping in the wind, saxophone reeds, etc.... Further, any attempt to isolate/compartmentalize the various aspects at play in the process will result in fragmented results. Lots of elements in the algorithm; allow them to be collectively adaptive in real time. Focus mostly on proper use of air, and all else will fall into place. Maynard was a revolutionary departure from the conventional approach to trumpet playing, so his Protocol requires even more open minded and aggressive experimentation. Once understood/employed, though, the normal physical limits are removed from your pursuit of trumpet/music, and you will experience a very real liberation.... Hope that helps, rather than further confuse.... :)
Such a thorough and honest assessment of playing this dang horn
Lynn Nicholson MF’s tone was so free of tension and pure sound that his sound alone at a peepeepiannissimo it still carried through doors and walls!
😵💫 well explained , If I understand very well, slower air means softer notes , so I guess aperture control with slower air and oral compression will give you the higher notes
I have been around a long time and you are one of the great players . I have seen you many times with Maynard what a thrill. Thanks Lynn ! .
Thanks for the tip Lynn. Many top lead players are dispelling the whole "Faster=Higher" myth nowadays including Roger Ingram, and Jim Manley. Arturo Sandoval played his famous 4-octave ending to Night in Tunisia about one foot away from my ear once and I was surprised that his sound was sweet and not overpowering at all. I can't wait to try out your advice. Thanks a million!
Charlie Davis, quoted by Doc to be the best lead player ever
Thank you so much for sharing this advise! I was just thinking about this during my morning practice session today. I then started to practice exactly what you mention in this video....and it does work and help!! Thank you!!!
You make some good points Lynn, thanks for the tip!
Great advice
I have had that happen also and it takes a long time to heal. I have never had sore lips but it took a long time to get all my range back but I did get it all back with patience and practice.
Thank you! I've been doing long gigs in New Orleans for a while now and have had to practice range with with a practice mute for a while because of my living accomodations. I have found that high notes are mysteriously much easier and my endurance has gone way up over the whole horn. I play up to g's and a's in soloing, but haven't played lead in several years. I'm going to start experimenting with your mouthpiece ideas soon.
Where do you play at in New Orleans?
Thanks, Lynn!
Hi Lynn I’ve not quite gone that far however I’ve done some blowing recently and my lip the next day would not vibrate at all. I’d done a full day including 2 gigs with a band on lead which inc Get It On twice plus Rocky as well as playing lead on every number 14 hours in total. I got the lip back by the Monday but I said to myself exactly the same back off and let it buzz naturally. Monday night rehearsals for me are hard as we play all the Tom Kubis, MF, big phat band stuff etc but I must admit the last few years I’ve really told myself I’m not getting any younger and ease off. I have learnt so much off you the last few months and it’s really helping. I don’t practice as much as I should in fact for 17 years my Trumpet only came out on gigs or rehearsals due to my day job (not in the music world) however this last two years after been given outstanding lead at a European big.band Comp and subsequent gigs I’m practising an 1hr a day (I know I should do more) but then rehearsals and gigs. I’d love to come over to the states and see you but that probably won’t happen keep the tutorials going as I like your ‘NOT look at me’ approach most refreshing. Cheers 🍻
This may be a great tip, but the mute does NOT slow down air. It may be that the mute increases the back pressure NOT allowing you to force as much air through the horn. I think the faster air interacts with increasing the frequency of the lips' vibrating the air column within the horn. Blowing a greater volume air through the lips increases the amplitude of the vibrations making the trumpet's sound louder not higher. Overblowing causes lips to separate and destabilizes the embouchure interfering with the lips vibration. To keep the embouchure together and stable the trumpeter usually presses the horn into the lips to hold the embouchure together which eventually damages the embouchure's tissues. I do not know how fast the actual air moves through the horn through the horn, that seems to miss the point of how faster air changes the airs vibration. Higher pitches require the vibration to have a greater frequency, not amplitude. So the trumpet player who thinks he has to blow more air to get higher notes is likely to be the guy to kill his lips and that is what overblowing does.
You are an elite trumpeter and your advice may be sound, but your explanation using physics is confused.
I'm not confused at all. In fact, clarity of facts is part of the reason I play as I do, and with no practice. As with all misguided proponents of the "fast air is louder" myth, you're not looking at the whole picture, which includes the mouthpiece and trumpet. The mute certainly DOES slow the air, by an amount determined by the mechanical nature of the mute. The extreme example is a mute that has no air passage at all, completely blocking the air flow. That doesn't slow the air, right? WRONG! Now, put a pinhole in it. I have essentially the same range with only a tiny amount of air passage. However, the sound is not very loud, due to the very slowly moving air. Case closed.... In the future, please post your bogus theories on your own page.... Here, you may confuse the issue for those players who really want to learn something of value. BTW, Trumpet Herald has a lot of "armchair" trumpet players. You may want to visit that forum.... :)
That's not how physics works. Louder doesn't mean faster. Louder means more volume. You can play a lower vibrating note with loads of slow air. While I'll agree that you are an amazing player, your concept of physics is incorrect at best.
Best way I heard it explained was by James Morrison. You're sitting passenger in a car going down the road with a piece of paper vibrating in the wind. If you want the paper to vibrate more you drive faster. The faster air increases the vibrating speed increases the pitch.
The mute does fix overblowing as you've stated but not by decreasing air speed but the amount of air you can put inside the instrument. It increases resistance allowing the player to determine the correct balance of compression which increases air speed and range. Because the mute increases resistance, it keeps you from blowing an amount of volume of air not a speed.
If air speed meant louder, why is it so much easier to play high at lesser volumes? You've said that tongue arch is crucial. Tongue arch doesn't increase the volume of air but the speed of air by adding compression to the air being utilized.
I would say it will slow down you air by Back Pressure, same result.
nice one lynn at lunch during school in play my trumpet with a practice mute and yeah it did help not to over blow and when I take it out it is easier to play high also my range decrease a little with the mute I give this a thumbs up
I love these videos and yet... I have not played for some time now. But still love these.
pick your axe up Lars... I did after 33 years and bought lynn nicholson's xpiece mouth piece and reverseable rim....am no consistently hitting triple g's and love using the MF protocol
Oh my. That gives me energy. Promise.
Buy shear coincidence, l took delivery of a practice mute literally ten minutes ago. How spooky is that.
Great advice by the way. 🎅🏻
You should upload a viewer challenge to compose some music for you to play. Thank you for the tips by the way :)
Great video, Lynn. Did a physician diagnose your problem of damaging your vibrating surface? This may be a stupid question but are the lips the vibrating surface?
Lynn, don't know if you've done a video on this or not. I'd like to know your opinion on different bore sizes. Do they make a difference in playing? Either playing loudly or softly or higher? Is there noticeable resistance in a smaller bore size and how does that affect playing?
I've seen it said that bore size really has no bearing on anything. Why then would they make different bore sizes? That doesn't make sense to me. I see where a lot of trumpeters that do high work play a smaller bore trumpet. But then again, I will see other High trumpeters that have larger bore trumpets.
As I am in the market for a new trumpet, I am totally confused on this subject and hope you can help. Thanks.
Large bores are typically better for the upper register, IF, you want to get a big sound up there, but can be cumbersome in the cruising range..... What is ideal is a horn that plays like a large bore above high G, but plays more like a medium large in the cruising range... That's why I created the LynnZhorn.... Best of both worlds..... However, the last LynnZhorn out of 160 was sold 2 years ago.....
@@lynn95441 thanks. So I was thinking of possibly getting a Schilke. Models I am currently looking at are the B1, B6 and X3. Do you have any opinions on these three models and which you prefer. (Or any other Schilke model you prefer.) How about Bell taper? That's something that's a little confusing to me as well. I have yet to actually play a Schilke yet. I need to find a dealer that has demos on hand.
Hi Lynn. Always interesting stuff you do and tell about. I have a problem: more air and faster air seems to be the discussion and I don't get the point. Does it not give faster air, when you compres the diagframe, and does that not make higher pitch?
Bryan Davis advocates faster air to get higher and he is good at it, so does the MF protocol add more air and small mouthpiece to get higher by blowing only MORE air, which means a big movement in abdomen arena but not like pressing a bottle?
Sorry about My english😪
See pinned comment.....
Lynn Nicholson
Thank you for the answer and I am sorry that I do not understand the point, but I keep going and then I probaly will get it.
Have a nice day and take care.
Erik
Yes, compression does create higher pitch. The higher the air pressure, the higher the pitch. Increasing air flow will increase the amplitude (louder).
If a mute slows down air, will practicing with the mute constantly improve skill?
The mute may improve precision a bit, but don't overdue it.... :)
Not necessarily but your family and neighbors will appreciate it.
Playing the "devil's advocate" card here...if faster air doesn't beget higher pitch, what does? As you've stated in other videos, tongue position is not to be used to determine pitch, at least on a "coarse" scale. This video makes it clear that merely jamming more air into the horn isn't the path to the upper register. Okay...what, then?
See pinned comment..... :)
I have a consistent and usable F-F# above double C. Have occasionally hit a good B. Not sure I have ever played a usable triple C..... :)
Sure.... lynn9544@gmail.com
Is it correct, that right way to play trumpet, is playing all range with slow air? Fast air must do only louder sound, but not higher notes? Sorry, my english is bad
See pinned comment....
@@lynn95441 lip
I am pinning this comment about the "faster air creates a higher pitch" myth. I've explained the proof that this is a myth, far too many times.... The practice mute provides an additional proof, since it reduces the air speed by at least 2-3 times. How does this much slower air still allow me the same range as I have without the mute, if faster air is required to play higher? Your answer is in my question.... What is often over looked is that the hole size in the mouthpiece is a constant and never changes. If I empty my lungs quickly, more air had to go through the same mouthpiece hole faster, and I will play louder, not higher, all other factors equal..... All kinds of theories out there, but these simple facts cannot be ignored to suit yet another bogus theory..... That is all.... :)
The mute does not allow the trumpet to transfer as much sound energy to the outside air. The mute dampens the amplitude of the sound wave. Since air is a fluid the waves that pass through it are compression waves. The more air molecules get squeezed together or concentrated together the louder the sound. Pitch differences are created by compressions that are closer together. If you ever played with tuning forks or a guitar you can see the vibration. To make the fork or string louder you must strike it with more energy. You can see the string or metal vibrate in a large displacement from the resting position. These vibrating materials create vibrations that squeeze more air together and the process increases the air's density and to do this creates regions of rarefaction (less dense air) and this what we experience as louder sounds because the air vibrates our ear structures in a like manner. The mute keeps you from transmitting the compressions and rarefactions with the same density it dampens the horn's vibrating air column.
Concerning your idea about the mouthpiece seems to be valid, but you are not thinking of the correct structure. It is the lips' aperture that changes, of course, it not the mouthpiece. You force more air through the lips and this blows the aperture wider or makes a bigger hole. Get a visualizer and you will see this effect. To produce higher notes we need a smaller aperture or air compression of the air to make it go faster but the goal is not to really increase how fast the air goes through the horn but to increase the number of vibration per second and that is what the faster air does. You can see to explain the physics is not easy. So I can't blame you for coming to some interesting conclusions based on how you think about your experiences.
The reason overblowing is such a problem that it blows the aperture apart and either and to play a loud high note forces people are not efficient players to do two or more things: 1. Squeeze the lips together more tightly to increase the frequency of the vibrations. 2. Push the horn and face together to cause the lips to increase the frequency. Both are ways of smashing the buzzer.
Although you are one of the trumpet greats, you played inefficiently producing the injury. I suggest you watch videos by Greg Spence or Bryan Davis. Their methods can prevent such injuries and still create the sizzling sound like you.
Wrong again..... Watch my chops on the Reversible Rim. They always vibrate all the way across, on every note and at every volume. In fact, without hearing the pitch change, you can't tell which note I'm playing.... Why? The horizontal width of my vibrating surface is always the same. ruclips.net/video/ea_gXff9GGE/видео.html AND, here's your bogus "guitar string" myth, demythified..... ruclips.net/video/YzHe7SOOZIM/видео.html Again, in the future, please post your bogus theories on your own page.... Here, you may confuse the issue for those players who really want to learn something of value......
@@lynn95441 Agreed. Another way to prove to oneself that faster air doesn't mean higher, just louder: play a note and hold it for a bit. Then - changing nothing in your chop setup - play the same note but blow out more/faster air ...all that will happen is the note will be louder.
@@lynn95441 Why are you so aggressive when confronted about your own "bogus theories?" You may be a decent-ish lead player, but that doesn't make you knowledgeable about physics, which some of these "armchair trumpet players" are experts in. You've fallen into the trap that a lot of pros fall into, the assumption that anyone who isn't as good as you is also not as intelligent. Instead of getting aggressive and pompous with folk who highlight your ignorance, why not simply learn and adapt your teaching approach? We would have far more respect for you if you did.
@@explodingsausage6576The guy’s played with Maynard, Toshiko, Thad & Mel-I think he’s a little more than a “decent-ish” lead player. If you think seriously about Lynn’s mute example, you’ll realize he’s right. Why is your playing quieter with a mute? The air’s being slowed down. It’s not “less air” escaping the mute. If all of the air weren’t coming out you couldn’t play. Slower air, less volume.
As you can play that high, you're doing everything right, no question. However, if you think faster air = louder, then you don't understand simple fundamentals of physics. The faster the air travels, the quicker a membran will flab, leading to higher pitch.
ruclips.net/video/ujrTDbnvDpU/видео.html