How to: Flexibility for brass playing
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- Опубликовано: 9 фев 2025
- Head of Box Hill Institute Music Degrees, Tim Weir talks about the three types of flexibility required when playing trumpet.
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omg that c major scale really impress me!!
Thanks! It takes a little practice but it's certainly achievable.
Maybe a little off topic, but I have been surprised to find that I am using a Bach 1 1/2 C more than my usual 3 C. I recently bought one of the new Wedge mouthpieces, the Pierobon C. I like it, but might stay with the Bach 1 1/2 C for the same reason I moved from the 3C, namely, that I feel less constrained with the larger bowl. My theory is that a certain percentage of the width of your mouth is needed to freely vibrate, and if that is cut off, you will tire earlier and also muff notes (no sound comes out). I also like to remove the mouthpiece from my lips as often as possible, and I have notice Sergei Nakariakov doing the same thing. Keeping those lips free to circulate blood is important. I lose some precision and tone quality with the larger mouthpiece. Recommendations?
‼️⁉️⁉️‼️‼️❗️HOW DO YoU DO ThE c mayor scale ?!??
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‼️⁉️⁉️‼️ Tutorial !⁉️⁉️❗️⁉️‼️‼️‼️‼️‼️ please !!!
Looking at your lips and you have no ring at all. I have about the same embouchure and I have a ring on my upper lip after playing for about 10 minutes. How my mouthpiece pressure is enough and how do you know when it's too much. Love this lesson though and I'm going to work on it.
Thanks Russell. If I play for 10 mins there's likely a ring for me too. I believe you need a certain amount of pressure to maintain a 'seal' around the embouchure but too much and you'll do damage.
@@timweirmusic @russell straight please don't do this type of embouchure, you will only hurt yourself in the long term. Trust me I learned the hard way, I busted my chops and had to re-learn a completely new embouchure. Please go watch this video and get a good embouchure from the get go. Bad habits are hard to unlearn. so start with a good one. I wish I found this video when I started playing 15 years ago. ruclips.net/video/lLE_-ly8hrQ/видео.html
This is a really late reply but to not play with pressure I usually do just mouthpiece work to start off but I hold the mouthpiece with only my thumb. I'm a tuba player so the mouthpiece is easier to hold like this than a trumpet mouthpiece. If you're having a hard time holding it with just the thumb you could use just 2 fingers to hold it at the very tip
@@timweirmusic tell me how your embouchure works for you...it looks like you are playing in the red.
@@da11king Hi - you know, I don't really think about it too much. I've played this way for 30 years and had success as a pro player. My focus is always on an action being repeatable - if you can be consistent, you'll progress.
When I'm working with a student, I focus on them finding a good balance between top and bottom lip, reducing mpc pressure, and centering their buzz. However, we all have different underpinning physiology so a text book setup isn't ideal for everyone. Sometimes you've got to just work with what you've got!
How long during each practice session should you spend on lip bends and at what part of your session ie. Warm up, beginning middle end or warm down . also I realize that lower lip bends would be beneficial to range but how high should you go in doing them. Many thanks.
Hi. i start my warm up with lip bends and typically spend 10-15 minutes on them each day, at the start of a session. i will use them sometimes as a warm down but not often.
I'd love to sit down with you and have a long discussion about your embouchure! You and I have a very similar set up, and it's very unique. One side is symmetrical, and the other side is different with the upper lip over the bottom. I learned similar note bending exercises from one of Arnold Jacobs students. Practicing the bends also helped my tone production because it forced me to find where the core is, similar to mouthpiece buzzing. Anyways, as I said, it was refreshing to find someone with a similar embouchure!!
Hi Bob. I'd be very happy to chat, anytime. Get in touch with me at melbournetrumpetstudio@gmail.com. All the best, Tim
Good good
I wonder how this technique compares with long tones to increase range.
Hi Bish. Long time no see! I don't get much value from long tones. They work for some people, but not much for me. This exercise really helps me keep the mouthpiece pressure down which allows the lips to vibrate at a variety of frequencies, including the upper register.
Tongue manipulation is primary to this correct ??
Hi Jp. Technically, yes. But if you focus on the tongue alone, you can get stuck. I feel it's a balance between tongue, lips, and air. Focus on the outcome you're trying to achieve, then let your body 'move' in that direction.
Thats a beautiful horn ! What is it ?
William Lamb looks like a Phaeton
Hi William. That's an Adams A4. It's a wonderful horn!
Love your Adams A4 and ACB piece!
Trent Austin does great work and his pieces match the Adams range wonderfully!
how to do that vibrate sound?(beginning of the video)
lip trills
Hi. That's a standard lip trill. I do that by keeping a constant stream of air and using my tongue to modulate the frequency. The lips then respond to the change of air speed to create the change in pitch. Look at Arban page 44!
Impressive,thks.
Wow thats awesome
Thanks!
Sir which mouthpiece is that sir let me know plz
How did he play an f sharp with no values pressed down ???!!!? What how
Lip bend
please,someone can translate into portuguse;thank you very much
RUclips close captions!
c'est assez étrange!!les lévres ne vont pas naturellement dans l'embouchure..et l'intérieur de l'embouchure ne s'appuie pas sur la peau..je ne sais quoi penser..
Oui tu as raison....c est vraimant etrange...mais sa Marche pour lui ,🤷🏾♂️
get this man some eyebrows
A C MAJOR SCALE WITHOUT USING VALVES!? 😨🤓👏👏👏👏👏👏👏🎺🎶❤️👍👍
Kinda looks like an Al Cass mouthpiece. Probably isn't but sure looks like it.
Hi Jorge. It's actually a MPC from Austin Custom Brass. It's their Slug blank in a 3C. Check out Trent - he's great!
@@melbournetrumpetstudio1484
I believe Trent is from Massachusetts. As was the late Al Cass. I wonder if his exposure to that musical environment led to an either intentional or subconscious drive to create a look similar to Big Al Cass?
By the way,
I lived in MA during my youthful years. Played in many clubs circa 1975 - 1978.
At the time many of us were struggling trumpets. Our horns still "owned" us. Not vice versa. So I recall meeting a working musician, forget his name but played with a show group,
"Mason Dixon & The Line"
M & D were the singers and bandleaders. My trumpet playing friend was part of "The Line". He along with a t-bonist who graduated a year ahead me in high school. .
And so just through the course of our business we'd occasionally run into each other's bands. And back in the day there were two revolutionary processes we were aware of. Each designed to help trumpet players develop into powerful lead players. At that time, somewhere in 1977 or so I was using one system and moderately aware of the other.
The first was Al Cass's "System". The very simple program. Play in an extroverted style i.e. blow loudly using lots of air support. Al would hound me by yelling,
"HAW"! So loudly that it scared me for a while. I thought maybe he was crazy. There was no
doubt however about his mouthpieces. Much sought after even back then. His "screamer" "3x" series esp the classic lead trumpet piece "3x4" was perfect for turning average cats into powerful marching band and stage band lead players.
And Big Al's tpt mouthpieces were part of music history even back then. What with Dizzy, Red Rodney, Donald Byrd all using them. As well as Snooky and many Tonight Show cats etc.
But then there was ANOTHER hugely successful system. Only it came outta NYC. This the,
"The Stevens-Costello Triple C Embouchure Technique and Embouchure self Analysis".
Only the full length 1st edition being in print. As the 2nd and somewhat condensed edition wasn't published until 2005.
Some people called this the Holy Grail. Others referred to it as fraud.
From.my own experience I consider it to be the best book on trumpet EVER! That said?
I had at least one serious problem with the book. Just one problem but it was a biggie. Also one doesn't learn the stevens method overnight.. In fact I'm finally close to eight months into it.. My range?
Between E natural and G ABOVE Double C on a given day.
More l8ter thank you!
Просто кошмар....
Ummmm. What the fuck just happened.