After coming back to the trumpet after 35 years, I knew I needed instruction on embouchure and correct placement of the mouthpiece, and endurance, issues that finally led to my dropping out of college music study. Thanks Paul.
I really like your tips. They are really usefull for me. I did this exercise for 15 mins and already had results. Never reached that low note before. Thank you.
Thank you for posting this excellent video on pedal notes. I have read several posts on this topic but your video takes it to a new level of understanding on how to develop this helpful technique. There is nothing else like it anywhere! Thank you for all of your time spent producing your outstanding lessons on playing this brass instrument. Nathan... Brooklyn, New York
Paul, thank you! I have always struggled with reducing the excess tension in my playing, and this exercise really helped a LOT. I'm absolutely blown away by how much this exercise did to help free up a lot of that excess tension, and help me learn what it's like to play a lot more effortlessly. Bravo!
Many thanks for your message. That's great to hear and really important for me to know it is working for you. I probably use this technique/exercise more than any other; it's got so many uses! TP
As a retirement-age come-back player, I just obtained a beautiful Shires Model A trumpet. I've got RUclips Master class access to the remarkable Paul Mayes and I began successfully moving through this great exercise - in minutes! This is almost too much excitement for an 'old' guy. My whole life, "Pedal notes? What are THEY?" Thank you Professor Paul.
@@bwade8786 This is my first 'hand made' brass instrument and by far the highest quality trumpet I've ever had - compared to the three Bach Stradivarius models I've bought and sold over the last several years. See Paul's video about his Shires AZ trumpet and you'll know why I jumped on the opportunity to buy one when it came around. I hope you're enjoying your new Shires trombone. My guess would be that it's pretty spectacular. Hope so.
Your tutorials are so easy to follow and understand,. I have so much tension in my face since having a 25 year gap in playing! This drop and land technique is brilliant, and feels so effortless. Thank you so much.
I’ve found all of the TP videos great. The tips go against conventional wisdom, or give a new take on techniques, and are excellent. I hope there will be more videos soon. I’ve learnt a lot and thought about playing in a much different way.
wonderful videos; new to to the trumpet @65, no expectations of Skyfall, but listening and learning in Western Canada. Thanks for sharing these best practices.
I've been using your drop and land as part of my warm up since seeing it on your other channel. It really works and it's a great quick 'lip reviver' during practise too. Transferring the sensations to other areas of my playing is the hard part...it's made me realise how much I need to work on my air pressure. More 2 pence pieces needed!
The trumpet is, by far, the most difficult to play instrument ever. For me, at least. I'm very fond of making music and have a bunch of musical instruments which I have been playing over the years. Among them two wind instruments, a flute and a nei (a kind of flute used in Turkish music). I have had no big problems in playing them. However, with a trumpet which I'm striving to learn now, is a different story. After several weeks of hard practicing I am still able to produce five notes only. It has an immensely steep learning curve.
Hi Mertol. Yes you are right! It is a difficult instrument to play and to teach. The trumpet is unforgiving and the best approach is to try not to overpower it. With most instruments your physical shape and build isn't really a factor in the learning process but with brass instruments and specifically the trumpet it is. My advice for you (not necessarily for others) is to connect together the DRY area of your lips so they are touching (you might do this by rolling them inward slightly) and then blow air (without vibration) through a small central area of your lips. That will set the lips in a position where you can then place the mouthpiece/trumpet (don't try to play the mouthpiece alone) and huff some air into the instrument until you get a vibration. IT WON'T BE THAT EASY and you will have to experiment and manipulate the lips but it is a good general approach I think. Let me know how you get on. TP
Another great demonstration, made all the more effective by the appearance of your students. The only area in which I think differently is the use of the pivot (I'm in favour), but we wouldn't be trumpet pedagogues if we agreed on everything!
Thanks Chase and no problem you mentioning your channel. Just to clarify re pivot: I only avoid using the pivot for the purpose of this particular exercise. I''m not against using it in general playing. All best, Paul
Haven't seen much from you lately. Are you doing ok?!? Hope you are, and thanks for these clips. I've had a very successful embouchure change due greatly to these tips in your videos!
Great video, thank you ! I've been using this exercise for years, mostly for my cool-down, although I never do the diminuendo part... My tutors usually say to play with a decent, comfortable volume. I've been trying to implement some of your tips & tricks into my exercises, it's helping quite a lot and I can clearly hear - and feel (!) - the difference.
That's great to hear. I'm pretty overwhelmed by the response to this video and so pleased such a simple technique is helping so many players to relax and get more from their playing. Me included!! TP
hi paul, good to see that there is a new video! i am surprised, that you describe that exercise as quite tricky, or difficult, or at least that it will take some time until the pedal notes come and give the lips some fine massage, especially as this channel is for quite advanced players. i am an absolute beginner, i started playing the trumpet only some months ago (you might remember me, we already some short conversation here), and this exercise is very easy for me, its is no difficulty at all. i can play all the pedal notes easily up and down in all variatons of loundness or intensity, from extremely soft to quite loud. so far so good. but in the normal register it's quite a disaster, i am still struggeling getting good grip and good sound with the most normal notes, let's say from c' to c". so can it be, that better, advanced players, with good grip and no problems with higher notes, somehow lost some relaxation in their lips and therefore have difficulties with the pedal-notes? should i try now to work myself up with this relaxed massage-feeling of the pedal notes step by step to the normal notes, even though it might take ages? or should i try to play higher notes with less relaxation and then step by step come back to the relaxed massage-feeling of the pedal notes? thank you so much for your videos and best wishes, gerd
Gerd you make a very important and valid point. Yes it is likely that more advanced players might actually find this more difficult . . . .something which hadn't occurred to me! The most likely reason for this is that more advanced players player with a higher level of resistance/smaller aperture than more intermediate players. Your aperture is probably more open and therefore more receptive to being taken by the low "magnet". My 3 essential tips videos talk about resistance and air pressure so try to introduce these in to your playing. TP
Hey Prof! i'm having an issue on high note descension from notes above top G. My sound becomes weak and airy, and it becomes very hard to keep the lips vibrating. I try to focus on sighing and various other factors mentioned in your previous lessons, and my high register sounds great and i have no real tension, but soon as I descend this changes despite all my efforts to not change anything and just focus on letting the lips vibrate. My guess would be something to do with my embouchure naturally contracting but not in a efficient way, causing it to be impossible to play in any other range with out resetting my lips. Any ideas? I hope this is something obvious
It's hard to say for sure. Could be several reasons. If your lips are too far apart it can help higher notes but get airy lower. Also encourage your lips to pout as you descend. You need to open your aperture a little. Try those things but without know or seeing how you play, it's difficult for me to be more precise. TP
Gratefull to have 'met' you, mr. TP, on your video's! May I ask you if I'm already entitled for following your lessons -- I would very much love to -- after only 2 years of trumpet playing for 20 minutes each day and a lesson each week. I stopped that because a bit disappointed by the effort it took me, effort with some physical consequences around my belly. Your message to learn to play relaxed came as music to my ears. And the 'sigh'-message as well. It automatically gets the breathing from deeper, from where it has it's real force, so I discovered since I met you yesterday! Thank you so much. By the way, since I need a new trumpet now, would you please advise me on that. Need it be expensive?
Dirk, thank you for your message. The sigh is the most important thing you can do. Don't try to force the air out by consciously tensing muscles; better to let nature takes its course. Saying that, you do need to feel a certain level of resistance but allow your body to respond to this naturally while using the sigh breath. You don't need an expensive trumpet! I don't know what your budget is but even the "beginner" trumpets are very good these days. Jupiter, Bach Elkhart, Yamaha all make very good entry level instruments. If you want to spend a little more then I would look into pre-owned instruments where you can get more for your money. TP
@@TheTrumpetProf Thanks a lot Prof for answering; You touch another question that came to me when you speak about the course of nature: Playing relaxed and yet lock the tummy muscles cannot be contradictory, otherwise you would't teach it and yet, when I tried it, too much tension was felt, I think. Could you say more about it?
@@dirkvandeputte3615 Ah . . . .I think you have also been watching my Trumpet Takeaway videos. These two channels actually do contradict one another because they are aimed at different types of player. If you are looking for a quick fix to playing issues and improving technique then TT is a great way to do that. If you are in it for the longer term then TP is the channel to follow. Locking your tummy muscles can be very beneficial in many ways (as mentioned in the video) but it is not such a relaxed way of playing and if you feel discomfort I would refrain doing it. TP
@@TheTrumpetProf Ah! I'll forget about the tummy muscles than, for now! Thanks! I will let you know how it goes when a new trumpet has shown me what to do. ( Can be some time) Somebody sells his 'Startone STR 25 BB trumpet' Do you know that? Thanks again for your splendid instructions! Dirk (Flemish, from Belgium)
hi paul! as you might remember, since i have found your videos i am trying to do exactly what you are teaching, and i am very satisfied with this, especially with the idea of sighing and the fine results i am able to reach, even as an absolute beginner. now some two weeks ago i had my first lesson with a (physically) real teacher, and it was very disappointing (after the lesson i even lost completely the joy with practicing, which i had felt a lot before the lesson). it was much more about strength, the setup of the embouchure he wanted me to change completely. but the idea of sighing somehow asks for a certain kind of emouchure, when i stregthen things, sighing is no more sighing somehow. so my question is: as a beginner, can i really start and go on with pure lightness? will my light playing, which i can do now from c' to c", be sufficient to strenghten my setup for light playing from c" to g above the staff? thank you so much and best regards, gerd
Hi Gerd sorry to hear of your experience. The sigh won't always feel "light" because to access the higher notes you need to create resistance and air pressure. But you should try to avoid doing this with the conventional approach of building strength in the lips. Have a look at my video How to Develop the Three Essential Tips from 13:48. where I briefly explain creating resistance and air pressure. I think this should help you. Keep me posted and please don't lose your enjoyment of playing and practising! TP
@@TheTrumpetProf hi paul, thank you for your quick answer! i will not lose the joy of practicing, actually some three days after my lesson i started to practice again and the joy is back! and again i made quite a progress, g above the staff comes more often quite reliably and soft an easy. and of course i am practicing according to your video "how to develop ..." and i think i perfectly feel what you mean with "resistance", i feel the jumps and steps from one overtone to the next more accurate, they are really kind of plopping out and locking in! so, no i will start my today's practice. thank you so much for your help and have a nice day! gerd
ah, something else: i think that i might drop my lower jaw too much while playing. should the distance between the backteeth be quite narrow, almost closed, in a natural position, so maybe some 1mm? or can it be more? i noticed, that when i play drop the the jaw this much that a 5mm diameter straw does fit between the upper and the lower backteeth. with a closer distance at the moment i somehow cant control my lips properly.
i now noticed, that it even fits between the front teeth! so its the position you are showing in the video about sighing, when you start sighing with the straw between your front teeth, lips not closed. i noticed, that i keep this position while playing. is that position a correct playing position, or should i lift the lower jaw more?
Thanks for posting this. Tried this today and it seemed to really help me. My lips had not been feeling very good the past couple/few days. I'm not sure what it was, I'm just an amateur comeback player and was busy at work / only able to do some warm ups, harmonic slurs and scales before and/or after work. Perhaps my strength/endurance just deteriorated due to less playing or my short practice sessions were a little too intense for my ability. I did the drop and land as advised, holding the note out. But I then started on the pedal and ascended up in a harmonic slur and it felt good, easy and it felt like I was playing much more open than before, with a wider aperture even up at high C or above at the top of my range. The sensations I had at the top weren't the same as when I "normally" play those notes, but it felt good / interesting in a way; not sure I could have played those notes with articulation that way but it was an interesting exercise.
Thanks John sorry for delay getting back. Interesting stuff. I'm always fascinated by the additional reactions players get. Like I always say, make the technique your own and experiment with it. All best, TP
Dear paul, thanks for your videos. Your videos are all great to me. I hope you don't mind I give a recommendation. Could you please make a video or videos to talk about "right mouthpiece SIZE". I will be happy to listen your opinion. Thanks again.
Hi. Yes I will do that at some point. It is a difficult topic though because it is such a personal thing. My general advice is play the narrowest mouthpiece you can which gives you the best sound and flexibility. The mouthpiece should be used to "hold" the lips in place and give some assistance with the high register. A big mouthpiece won't help with high register playing which is why you should go as narrow as is comfortable and possible. Hope that helps for now. TP
Hi Paul, I'm from Italy. Your videos are really helping me to relax and build a much more sustainable way of playing the instrument. I'd like to ask you this: is it necessary to land on the octave or should I just land on a note that feels easy for my lips? (I usually get a pedal low G when I start the descent from C). Thank you very much anyway!
Hi. The answer to your question is actually in the video!! Don't worry about landing on the octave just settle for whatever comes out. Any pitch down there will massage the lips and that's what it's all about. Let go of the control as much as possible. TP
Kenneth, apologies for not getting back before. I'm not familiar with Sam's breathing gym but I'll check it out. Remember we (trumpet players) are low flow rate players, the opposite of the tuba but I'm sure there would be plenty to take from his ideas. An amazing player and musician. TP
Thanks for advice. I'd really love to see your embouchure as you drop and land, but your hand is blocking the view. I think the embouchure changes more than advertised. And how loose are the muscles around your lip when you start with C?
@@TheTrumpetProf "let nature take it's course" so do you imagine the sound going down and hope your body follows or is the release of the air, "the sigh" supposed to be a continuation of relaxed air as in when you sigh without a trumpet and thus the pitch drops
Sorry not to get back sooner. I would use this to both warm up and warm down. If your getting a double buzz it's because the contour (landscape) of your lips has changed due to playing lots. This exercise will certainly help the healing process but always with plenty of rest!! Thanks for your question. TP
Paul you are encouraging us to breathe high on drop and land. But you do intent for us to breathe full breathe high and low when playing the trumpet? Is the high breathe only for drop and land?
Hi. You should land on the fundamental of the instrument. On a conical instrument it will most likely be an octave drop. On a cylindrical instrument it will probably be more, but let it go where it wants to go. TP
@@TheTrumpetProf Thanks, Professor Mayes! I studied at The Mannes School of Music from 1967 thru to 1970. My trumpet teacher who was a trombone player decided I needed to change my embouchure to get "a symphonic sound", even though I had great chops. His advice wrecked my embouchure, not that I even knew what an embouchure was at the time! In my second year, I discovered that a few of the guys were taking lessons outside of school with Roy Stevens (Costello Method), and I studied with him trying to recover my range and flexibility. Unfortunately, it became too frustrating and I gave up. I'm trying to make a bit of a comeback now playing for my own pleasure. Your videos are fantastic and very encouraging. I hope to travel to the UK and meet you one day... Nathan
Hello Paul. I looked at your embouchure muscles (everything around the lips) and saw there was some amount of tension. Of course there should be some sign of embouchure muscles tensing up to keep the proper shape. I'm told I'm using too much embouchure tension in my playing and that's the reason I cannot play above the staff at all. However I just don't know how to use the same amount of tension for G on top of the staff and for Low C. My embouchure muscles begin to tire up within half an hour of playing. I used all kings of mental images and relaxation techniques including Greg Spence's method and nothing helps. I have a feeling that I just have no muscle capacity to reach the high C. Successful players say they don't use much more embouchure muscle power for high C as compared to Low C but for me that sounds like nonsense - even if it's true! Is my perception of what muscle strength needed for playing trumpet perverted? I can accepted it but I can't get out of that trap.
Hey John, playing high notes without Tension is impossible. To play a high note your lips need to vibrate faster, in order for them to do that your airflow needs to be faster (that does NOT mean you need more air for high notes). To accelerate the airflow you do need tension, for example in the diaphragm (so you get proper support), and also a bit in the muscles around your lips (to have proper form and don't need to rely on mouthpiece pressure. For this i highly recommend Charlie Porters video on proper lip buzzing!). To play high notes without too much tension your tongue needs to do the right things (check out adam rapa's video "want easier high notes?"). That being said, don't stress too much about your high notes. It takes years of practice to play them effortlessly, the key to success is consistent work and a lot of patience. I'm sure you can do it ;)
Hi John, sorry not to get back to you before. I understand that watching an efficient player play high and tell you it feels effortless and requires no more facial tension than a low C can be confusing! Let's be more specific though: Playing a high C requires a certain amount of effort/energy. IT IS THE SAME AMOUNT OF ENERGY FOR EVERYONE! The difference is that when I play a high C my technique is set up in a way which distributes the work load to the strongest muscles (like the abdominal muscles and muscles of the thoracic cavity) and away from the weaker smaller muscles in the face. When I talk about re-balancing, that is what I mean. When you lift something heavy you should squat, try to keep your back straight and use your (strong) leg muscles. Most people don't do that because they have picked up bad habits over time. Therefore they lift with a bent back and pull a muscle or worse. A high C on the trumpet is very much the equivalent of lifting a heavy weight. You need your technique to be set up so the strong muscles are doing most of the work. When you achieve this IT FEELS LIKE YOU'RE NOT USING MUCH EFFORT because the strong muscles don't "feel" it. Yes of course you need "some" contraction in your facial muscles to form a basic seal but "minimal" contraction should be the goal. Your technique can be set up many different ways to achieve this but it is a personal thing. I have given a good starting point in my video "How to Develop the Three Essential Tips". I would encourage you to watch the entire video if you are serious about resolving your issues but particularly from 13:50 where I help with the idea of developing resistance. I disagree with the idea it takes years to develop effortless high notes, it doesn't. But don't take my word for it, watch my students: "How to Develop the Three Essential Tips" @ 20:10 "The Trumpet Prof" @ 16:08 Hope that at least clears up some confusion and allows you to focus on the things that will give you some return on your efforts. TP
Yes that's ok. Puffing the cheeks is a great way to re balance and increase efficiency in all registers. We will all have our limits but a relaxed face will give you more potential.
Try to let the trumpet vibrate the lips for you. You don't need to buzz the lips or the mouthpiece. Start by blowing silent air into the trumpet and turn it into sound. TP
why is my tongue so spitty i just collect lots of saliva in the mouthpiece and my sound is awful BUT SLURING ALL NOTES GIVES ME A NICE SOUND but tongue the notes is a big mess of saliva in the mouthpiece and trumpet
When you fill up with air, raise your shoulders slightly. As you play and use the air, keep them raised. Prior to that, stand in an open doorway and put your forearms against the sides. Lean a bit forward to stretch the upper torso and open the chest up. Hold for about 20 seconds.
I know it's bad form to mention my channel in the comments, but I uploaded a video on pedal tones a couple of weeks ago if your viewers would like additional perspective. I will say that your videos offer some of the most practical advice on brass playing I've seen on RUclips, and you are very good about clarifying concepts with labels like 'drop and land'.
After coming back to the trumpet after 35 years, I knew I needed instruction on embouchure and correct placement of the mouthpiece, and endurance, issues that finally led to my dropping out of college music study. Thanks Paul.
Thanks Jeff. Hope things are better second time around.
A 72 year old comeback player here.
Look forward to videos on getting the lip and playing techniques back. Thanks TP.
ช่วงแรก อายุ17-30เป่าทรัมเป็ต จากนั้น 31-62ไม่ได้เป่าเลย หลังเกษียณ 62-ปัจจุบัน(อายุ ย่างเข้า 77ปี)เพื่อนมาตามไปร่วมวง small band ปัญหาคือฟันบนและล่างร่วงเกือบหมดปาก เหลือแถวกรามบนและล่างไม่กี่ซี่ พอที่จะเกาะฟันปลอมบน_ล่างได้
จะแน่นสนิทต้องใช้ครีมเหนียวทาพื้นผิวเพดานฟันปลอมเหนียวเกาะติดเหงือกบน_ล่างไดสนิท แล้วเป่าออกเสียง ทำได้เสียงต่ำสุดแค่ G. สูงสุดคือ
Aเหนือบรรทัด 5เส้น ทุลักทุเลมากเมื่อเล่นเพลงเร็ว เพราะลมปรับเสียงให้สูงต่ำมักเพี้ยนเสียง สรุปคือฟันหน้าบน_ล่าง เหงือกต้องแข็งแรง สงวนรักษาไว้ใช้งานให้นานที่สุด รับรองว่าคุณสามารถเล่นทรัมเป็ตได้เกินอายุ 80 แน่ๆ ถ้าไม่เลิกเล่นเสียก่อน
Best trumpet content on the web no one else close.
Yes amazing gentle blow in and the cornet just does it itself right down to the basement. Never knew about this before. Thanks Paul
I really like your tips. They are really usefull for me. I did this exercise for 15 mins and already had results. Never reached that low note before. Thank you.
Former trumpet player but.... current horn player! Love your stuff! Thank you
Such brilliant teaching and development ideas - thank you
This is an excellent way to improve your circular breathing.
Thank you so much for all your videos! They are really helpful 😊
Thank you for posting this excellent video on pedal notes. I have read several posts on this topic but your video takes it to a new level of understanding on how to develop this helpful technique. There is nothing else like it anywhere! Thank you for all of your time spent producing your outstanding lessons on playing this brass instrument.
Nathan... Brooklyn, New York
Nathan, sorry not to respond earlier but thank you for your kind words. I'm getting back on the horse very soon. TP
Paul, thank you! I have always struggled with reducing the excess tension in my playing, and this exercise really helped a LOT. I'm absolutely blown away by how much this exercise did to help free up a lot of that excess tension, and help me learn what it's like to play a lot more effortlessly. Bravo!
Many thanks for your message. That's great to hear and really important for me to know it is working for you. I probably use this technique/exercise more than any other; it's got so many uses! TP
As a retirement-age come-back player, I just obtained a beautiful Shires Model A trumpet. I've got RUclips Master class access to the remarkable Paul Mayes and I began successfully moving through this great exercise - in minutes! This is almost too much excitement for an 'old' guy. My whole life, "Pedal notes? What are THEY?" Thank you Professor Paul.
StopAndGetGas yes, what are pedal notes for another old guy trying to learn again
Thanks! And great instrument choice too!! Model A has nice resistance. TP
@@TheTrumpetProf Your video of your Shires AZ trumpet sealed the deal! Mine is a 'rescued', low serial number (
How do you like the Shires? I bought my first new trombone, a Shires as well.
@@bwade8786 This is my first 'hand made' brass instrument and by far the highest quality trumpet I've ever had - compared to the three Bach Stradivarius models I've bought and sold over the last several years. See Paul's video about his Shires AZ trumpet and you'll know why I jumped on the opportunity to buy one when it came around. I hope you're enjoying your new Shires trombone. My guess would be that it's pretty spectacular. Hope so.
Thanks for the informative video
Your tutorials are so easy to follow and understand,. I have so much tension in my face since having a 25 year gap in playing! This drop and land technique is brilliant, and feels so effortless. Thank you so much.
Thank you Simone. I'm glad to hear it is helping you just as it helps me everyday. TP
I’ve found all of the TP videos great. The tips go against conventional wisdom, or give a new take on techniques, and are excellent. I hope there will be more videos soon. I’ve learnt a lot and thought about playing in a much different way.
Thank you Peter. That's exactly what I hope to hear! TP
Thanks for the video
wonderful videos; new to to the trumpet @65, no expectations of Skyfall, but listening and learning in Western Canada. Thanks for sharing these best practices.
Thanks. I'm getting lots of messages from players in 60's and 70's. Will make a video specifically for you all soon. Good luck. TP
Love these videos! Hopefully we’ll get some more in the near future.
Hello, I have found your videos very helpful, thank you!
I've been using your drop and land as part of my warm up since seeing it on your other channel. It really works and it's a great quick 'lip reviver' during practise too. Transferring the sensations to other areas of my playing is the hard part...it's made me realise how much I need to work on my air pressure. More 2 pence pieces needed!
Yes that is the hard part and is of course all about increasing resistance and strength (as you said). Take your time and build slowly. TP
The trumpet is, by far, the most difficult to play instrument ever. For me, at least. I'm very fond of making music and have a bunch of musical instruments which I have been playing over the years. Among them two wind instruments, a flute and a nei (a kind of flute used in Turkish music). I have had no big problems in playing them. However, with a trumpet which I'm striving to learn now, is a different story. After several weeks of hard practicing I am still able to produce five notes only. It has an immensely steep learning curve.
Hi Mertol. Yes you are right! It is a difficult instrument to play and to teach. The trumpet is unforgiving and the best approach is to try not to overpower it. With most instruments your physical shape and build isn't really a factor in the learning process but with brass instruments and specifically the trumpet it is. My advice for you (not necessarily for others) is to connect together the DRY area of your lips so they are touching (you might do this by rolling them inward slightly) and then blow air (without vibration) through a small central area of your lips. That will set the lips in a position where you can then place the mouthpiece/trumpet (don't try to play the mouthpiece alone) and huff some air into the instrument until you get a vibration. IT WON'T BE THAT EASY and you will have to experiment and manipulate the lips but it is a good general approach I think. Let me know how you get on. TP
@@TheTrumpetProf I will definitely try it. Right away.
Another great demonstration, made all the more effective by the appearance of your students. The only area in which I think differently is the use of the pivot (I'm in favour), but we wouldn't be trumpet pedagogues if we agreed on everything!
Thanks Chase and no problem you mentioning your channel. Just to clarify re pivot: I only avoid using the pivot for the purpose of this particular exercise. I''m not against using it in general playing. All best, Paul
Haven't seen much from you lately. Are you doing ok?!? Hope you are, and thanks for these clips. I've had a very successful embouchure change due greatly to these tips in your videos!
Hope it's going well.
All great tips to work on the basics. Very helpfull. Thanks a lot @TheTrumpetProf
i will appreciate alot if you can help me with any exercise book for the trumpet
I wish I knew this stuff years ago. I still would like play consistent high d, e and f.
Me too!!
Great video, thank you ! I've been using this exercise for years, mostly for my cool-down, although I never do the diminuendo part... My tutors usually say to play with a decent, comfortable volume. I've been trying to implement some of your tips & tricks into my exercises, it's helping quite a lot and I can clearly hear - and feel (!) - the difference.
That's great to hear. I'm pretty overwhelmed by the response to this video and so pleased such a simple technique is helping so many players to relax and get more from their playing. Me included!! TP
glad your uploading i really need the help.
That's why I'm doing it. We all need help!! Thanks. TP
Cool
hi paul,
good to see that there is a new video!
i am surprised, that you describe that exercise as quite tricky, or difficult, or at least that it will take some time until the pedal notes come and give the lips some fine massage, especially as this channel is for quite advanced players. i am an absolute beginner, i started playing the trumpet only some months ago (you might remember me, we already some short conversation here), and this exercise is very easy for me, its is no difficulty at all. i can play all the pedal notes easily up and down in all variatons of loundness or intensity, from extremely soft to quite loud. so far so good. but in the normal register it's quite a disaster, i am still struggeling getting good grip and good sound with the most normal notes, let's say from c' to c". so can it be, that better, advanced players, with good grip and no problems with higher notes, somehow lost some relaxation in their lips and therefore have difficulties with the pedal-notes? should i try now to work myself up with this relaxed massage-feeling of the pedal notes step by step to the normal notes, even though it might take ages? or should i try to play higher notes with less relaxation and then step by step come back to the relaxed massage-feeling of the pedal notes?
thank you so much for your videos and best wishes,
gerd
Gerd you make a very important and valid point.
Yes it is likely that more advanced players might actually find this more difficult . . . .something which hadn't occurred to me! The most likely reason for this is that more advanced players player with a higher level of resistance/smaller aperture than more intermediate players. Your aperture is probably more open and therefore more receptive to being taken by the low "magnet". My 3 essential tips videos talk about resistance and air pressure so try to introduce these in to your playing. TP
@@TheTrumpetProf okay! already watching and practicing! thank you!
Hey Prof! i'm having an issue on high note descension from notes above top G. My sound becomes weak and airy, and it becomes very hard to keep the lips vibrating. I try to focus on sighing and various other factors mentioned in your previous lessons, and my high register sounds great and i have no real tension, but soon as I descend this changes despite all my efforts to not change anything and just focus on letting the lips vibrate. My guess would be something to do with my embouchure naturally contracting but not in a efficient way, causing it to be impossible to play in any other range with out resetting my lips. Any ideas? I hope this is something obvious
It's hard to say for sure. Could be several reasons. If your lips are too far apart it can help higher notes but get airy lower.
Also encourage your lips to pout as you descend. You need to open your aperture a little.
Try those things but without know or seeing how you play, it's difficult for me to be more precise. TP
Gratefull to have 'met' you, mr. TP, on your video's! May I ask you if I'm already entitled for following your lessons -- I would very much love to -- after only 2 years of trumpet playing for 20 minutes each day and a lesson each week. I stopped that because a bit disappointed by the effort it took me, effort with some physical consequences around my belly. Your message to learn to play relaxed came as music to my ears. And the 'sigh'-message as well. It automatically gets the breathing from deeper, from where it has it's real force, so I discovered since I met you yesterday! Thank you so much. By the way, since I need a new trumpet now, would you please advise me on that. Need it be expensive?
Dirk, thank you for your message. The sigh is the most important thing you can do. Don't try to force the air out by consciously tensing muscles; better to let nature takes its course. Saying that, you do need to feel a certain level of resistance but allow your body to respond to this naturally while using the sigh breath.
You don't need an expensive trumpet! I don't know what your budget is but even the "beginner" trumpets are very good these days. Jupiter, Bach Elkhart, Yamaha all make very good entry level instruments. If you want to spend a little more then I would look into pre-owned instruments where you can get more for your money. TP
@@TheTrumpetProf Thanks a lot Prof for answering; You touch another question that came to me when you speak about the course of nature: Playing relaxed and yet lock the tummy muscles cannot be contradictory, otherwise you would't teach it and yet, when I tried it, too much tension was felt, I think. Could you say more about it?
@@dirkvandeputte3615 Ah . . . .I think you have also been watching my Trumpet Takeaway videos. These two channels actually do contradict one another because they are aimed at different types of player. If you are looking for a quick fix to playing issues and improving technique then TT is a great way to do that. If you are in it for the longer term then TP is the channel to follow. Locking your tummy muscles can be very beneficial in many ways (as mentioned in the video) but it is not such a relaxed way of playing and if you feel discomfort I would refrain doing it. TP
@@TheTrumpetProf Ah! I'll forget about the tummy muscles than, for now! Thanks! I will let you know how it goes when a new trumpet has shown me what to do. ( Can be some time) Somebody sells his 'Startone STR 25 BB trumpet' Do you know that? Thanks again for your splendid instructions! Dirk (Flemish, from Belgium)
hi paul!
as you might remember, since i have found your videos i am trying to do exactly what you are teaching, and i am very satisfied with this, especially with the idea of sighing and the fine results i am able to reach, even as an absolute beginner. now some two weeks ago i had my first lesson with a (physically) real teacher, and it was very disappointing (after the lesson i even lost completely the joy with practicing, which i had felt a lot before the lesson). it was much more about strength, the setup of the embouchure he wanted me to change completely. but the idea of sighing somehow asks for a certain kind of emouchure, when i stregthen things, sighing is no more sighing somehow. so my question is: as a beginner, can i really start and go on with pure lightness? will my light playing, which i can do now from c' to c", be sufficient to strenghten my setup for light playing from c" to g above the staff? thank you so much and best regards, gerd
Hi Gerd sorry to hear of your experience. The sigh won't always feel "light" because to access the higher notes you need to create resistance and air pressure. But you should try to avoid doing this with the conventional approach of building strength in the lips. Have a look at my video How to Develop the Three Essential Tips from 13:48. where I briefly explain creating resistance and air pressure. I think this should help you. Keep me posted and please don't lose your enjoyment of playing and practising! TP
@@TheTrumpetProf hi paul, thank you for your quick answer! i will not lose the joy of practicing, actually some three days after my lesson i started to practice again and the joy is back! and again i made quite a progress, g above the staff comes more often quite reliably and soft an easy. and of course i am practicing according to your video "how to develop ..." and i think i perfectly feel what you mean with "resistance", i feel the jumps and steps from one overtone to the next more accurate, they are really kind of plopping out and locking in! so, no i will start my today's practice. thank you so much for your help and have a nice day! gerd
ah, something else: i think that i might drop my lower jaw too much while playing. should the distance between the backteeth be quite narrow, almost closed, in a natural position, so maybe some 1mm? or can it be more? i noticed, that when i play drop the the jaw this much that a 5mm diameter straw does fit between the upper and the lower backteeth. with a closer distance at the moment i somehow cant control my lips properly.
i now noticed, that it even fits between the front teeth! so its the position you are showing in the video about sighing, when you start sighing with the straw between your front teeth, lips not closed. i noticed, that i keep this position while playing. is that position a correct playing position, or should i lift the lower jaw more?
50 yr. comeback player from injury. shall I use my cornet for this excercise so I can land on the octave?a
You can use either. The pitch is not so important but try it on both. TP
Thanks for posting this. Tried this today and it seemed to really help me. My lips had not been feeling very good the past couple/few days. I'm not sure what it was, I'm just an amateur comeback player and was busy at work / only able to do some warm ups, harmonic slurs and scales before and/or after work. Perhaps my strength/endurance just deteriorated due to less playing or my short practice sessions were a little too intense for my ability.
I did the drop and land as advised, holding the note out. But I then started on the pedal and ascended up in a harmonic slur and it felt good, easy and it felt like I was playing much more open than before, with a wider aperture even up at high C or above at the top of my range. The sensations I had at the top weren't the same as when I "normally" play those notes, but it felt good / interesting in a way; not sure I could have played those notes with articulation that way but it was an interesting exercise.
Thanks John sorry for delay getting back. Interesting stuff. I'm always fascinated by the additional reactions players get. Like I always say, make the technique your own and experiment with it. All best, TP
Dear paul, thanks for your videos. Your videos are all great to me. I hope you don't mind I give a recommendation. Could you please make a video or videos to talk about "right mouthpiece SIZE". I will be happy to listen your opinion. Thanks again.
Hi. Yes I will do that at some point. It is a difficult topic though because it is such a personal thing. My general advice is play the narrowest mouthpiece you can which gives you the best sound and flexibility. The mouthpiece should be used to "hold" the lips in place and give some assistance with the high register. A big mouthpiece won't help with high register playing which is why you should go as narrow as is comfortable and possible. Hope that helps for now. TP
Hi Paul, I'm from Italy. Your videos are really helping me to relax and build a much more sustainable way of playing the instrument. I'd like to ask you this: is it necessary to land on the octave or should I just land on a note that feels easy for my lips? (I usually get a pedal low G when I start the descent from C). Thank you very much anyway!
Hi. The answer to your question is actually in the video!!
Don't worry about landing on the octave just settle for whatever comes out. Any pitch down there will massage the lips and that's what it's all about. Let go of the control as much as possible. TP
Can this be used for all brass instruments or only trumpet?
This can be used for all brass instruments. TP
Hi Paul, thank you so much for helping us to improve in the trumpet, what do you think about the breathing gym by Sam Pilafian
Kenneth, apologies for not getting back before. I'm not familiar with Sam's breathing gym but I'll check it out. Remember we (trumpet players) are low flow rate players, the opposite of the tuba but I'm sure there would be plenty to take from his ideas. An amazing player and musician. TP
Thanks for advice. I'd really love to see your embouchure as you drop and land, but your hand is blocking the view. I think the embouchure changes more than advertised. And how loose are the muscles around your lip when you start with C?
The embouchure doesn't change very much and is very relaxed from the low C. It changes a little but the focus is on the air pressure. TP
If u don't use facial muscles do you use air to make the drop?
Just try not to use the facial muscles and let nature take its course! (Trombone players might need to use a little facial activity). TP
@@TheTrumpetProf "let nature take it's course" so do you imagine the sound going down and hope your body follows or is the release of the air, "the sigh" supposed to be a continuation of relaxed air as in when you sigh without a trumpet and thus the pitch drops
Hi Paul, can i use this to repair my lips cause I'm having a double buzz due to playing lots of high notes and experimentation... Thanks in advance..
Sorry not to get back sooner. I would use this to both warm up and warm down. If your getting a double buzz it's because the contour (landscape) of your lips has changed due to playing lots. This exercise will certainly help the healing process but always with plenty of rest!! Thanks for your question. TP
When doing drop and land from, say, Bb below low C do you land on the same pedal note? Or is it pedal Bb?
Should be different but doesn't have to be a true octave. TP
Paul you are encouraging us to breathe high on drop and land. But you do intent for us to breathe full breathe high and low when playing the trumpet? Is the high breathe only for drop and land?
Experiment with both and use what works best for you. TP
I used to be able to play high notes but I can't now so I suspect tension can you help
Watch this video from 16:16. You need to relax your top lip and this will allow you to do it.
ruclips.net/video/ZzHNP4peTe8/видео.html
it's normal when practice this exercise, I don't land in the C3, I land in B2? or I'm doing something wrong?
Hi. You should land on the fundamental of the instrument. On a conical instrument it will most likely be an octave drop. On a cylindrical instrument it will probably be more, but let it go where it wants to go. TP
When I play the high note, I was so tight on my month, what should I do
Watch this video from 16:16. You need to relax your top lip and this will allow you to do it.
ruclips.net/video/ZzHNP4peTe8/видео.html
Professor, what model mouthpiece are you currently playing?
Nathan
Hi Nathan. I play a Monette Prana B4S S2 82. It's my most treasured possession! TP
@@TheTrumpetProf Thanks, Professor Mayes! I studied at The Mannes School of Music from 1967 thru to 1970. My trumpet teacher who was a trombone player decided I needed to change my embouchure to get "a symphonic sound", even though I had great chops. His advice wrecked my embouchure, not that I even knew what an embouchure was at the time! In my second year, I discovered that a few of the guys were taking lessons outside of school with Roy Stevens (Costello Method), and I studied with him trying to recover my range and flexibility. Unfortunately, it became too frustrating and I gave up. I'm trying to make a bit of a comeback now playing for my own pleasure. Your videos are fantastic and very encouraging. I hope to travel to the UK and meet you one day... Nathan
Hello Paul. I looked at your embouchure muscles (everything around the lips) and saw there was some amount of tension. Of course there should be some sign of embouchure muscles tensing up to keep the proper shape. I'm told I'm using too much embouchure tension in my playing and that's the reason I cannot play above the staff at all. However I just don't know how to use the same amount of tension for G on top of the staff and for Low C. My embouchure muscles begin to tire up within half an hour of playing. I used all kings of mental images and relaxation techniques including Greg Spence's method and nothing helps. I have a feeling that I just have no muscle capacity to reach the high C. Successful players say they don't use much more embouchure muscle power for high C as compared to Low C but for me that sounds like nonsense - even if it's true! Is my perception of what muscle strength needed for playing trumpet perverted? I can accepted it but I can't get out of that trap.
Hey John, playing high notes without Tension is impossible. To play a high note your lips need to vibrate faster, in order for them to do that your airflow needs to be faster (that does NOT mean you need more air for high notes). To accelerate the airflow you do need tension, for example in the diaphragm (so you get proper support), and also a bit in the muscles around your lips (to have proper form and don't need to rely on mouthpiece pressure. For this i highly recommend Charlie Porters video on proper lip buzzing!). To play high notes without too much tension your tongue needs to do the right things (check out adam rapa's video "want easier high notes?"). That being said, don't stress too much about your high notes. It takes years of practice to play them effortlessly, the key to success is consistent work and a lot of patience. I'm sure you can do it ;)
Hi John, sorry not to get back to you before. I understand that watching an efficient player play high and tell you it feels effortless and requires no more facial tension than a low C can be confusing! Let's be more specific though: Playing a high C requires a certain amount of effort/energy. IT IS THE SAME AMOUNT OF ENERGY FOR EVERYONE! The difference is that when I play a high C my technique is set up in a way which distributes the work load to the strongest muscles (like the abdominal muscles and muscles of the thoracic cavity) and away from the weaker smaller muscles in the face. When I talk about re-balancing, that is what I mean.
When you lift something heavy you should squat, try to keep your back straight and use your (strong) leg muscles. Most people don't do that because they have picked up bad habits over time. Therefore they lift with a bent back and pull a muscle or worse.
A high C on the trumpet is very much the equivalent of lifting a heavy weight. You need your technique to be set up so the strong muscles are doing most of the work. When you achieve this IT FEELS LIKE YOU'RE NOT USING MUCH EFFORT because the strong muscles don't "feel" it. Yes of course you need "some" contraction in your facial muscles to form a basic seal but "minimal" contraction should be the goal.
Your technique can be set up many different ways to achieve this but it is a personal thing. I have given a good starting point in my video "How to Develop the Three Essential Tips". I would encourage you to watch the entire video if you are serious about resolving your issues but particularly from 13:50 where I help with the idea of developing resistance. I disagree with the idea it takes years to develop effortless high notes, it doesn't. But don't take my word for it, watch my students:
"How to Develop the Three Essential Tips" @ 20:10
"The Trumpet Prof" @ 16:08
Hope that at least clears up some confusion and allows you to focus on the things that will give you some return on your efforts. TP
What does TLR mean?
Top LIp Relaxed
@@TheTrumpetProf ok
Normally, I never puff my cheeks when playing, but find it's easier to go pedal note low if I allow the cheeks to puff a bit. Is that ok?
Yes that's ok. Puffing the cheeks is a great way to re balance and increase efficiency in all registers. We will all have our limits but a relaxed face will give you more potential.
@@TheTrumpetProf Thanks so much for the help!
It is right for the lips to vibrate when playing it
Try to let the trumpet vibrate the lips for you. You don't need to buzz the lips or the mouthpiece. Start by blowing silent air into the trumpet and turn it into sound. TP
I see you play a Monette mouthpiece What sise is it.
B4S S2 82 Prana
why is my tongue so spitty i just collect lots of saliva in the mouthpiece and my sound is awful BUT SLURING ALL NOTES GIVES ME A NICE SOUND but tongue the notes is a big mess of saliva in the mouthpiece and trumpet
My problem is that I always dont have air when playing. I need to stop for 5 sec to catch my breath...
Try to find some resistance. You can still play low. TP
DagzLax Try doing long note exercises.
When you fill up with air, raise your shoulders slightly. As you play and use the air, keep them raised. Prior to that, stand in an open doorway and put your forearms against the sides. Lean a bit forward to stretch the upper torso and open the chest up. Hold for about 20 seconds.
I know it's bad form to mention my channel in the comments, but I uploaded a video on pedal tones a couple of weeks ago if your viewers would like additional perspective. I will say that your videos offer some of the most practical advice on brass playing I've seen on RUclips, and you are very good about clarifying concepts with labels like 'drop and land'.
Yes it is bad form indeed.