Mr. Mayes with all sincerity you are a genius. Let me tell you something, I have watched thousands of videos in RUclips because I’ve been playing trumpet for a looong time and I have never been able to play it correctly UNTIL AND I MEAN UNTIL I watched this video. After so many years trying to put it together I’ve manage to do that with this video. Now, using these three methods I’m getting better and I still have a lot of work to do but, at least now I’m able to play freely without pressure, hitting the high notes and not getting tired. I’m able to practice for hours and for the first time in my life I’m able to enjoy playing the trumpet. So, thank you thank you very much. Please everyone watching this video, pay attention to every word this man is saying and I guarantee you will get it too.
Misael thank you for your kind words and for realising you need to pay attention to every word. I hope others will follow your (and my) advice. Keep in touch. TP
This sighing with the straw for resistance helps me make sense of some advice I got 20 years ago from Guy Few: "connect the notes (play) as if you are blowing into a thin flexible straw" (paraphrase). I never got the chance to unpack that concept but I think it relates to this video.
my son (at 14 yrs and NEVER allowed to touch my horns) picked up my 1952 French Besson (.470 bore) and played a loud, perfectly in tune, E over high C. Great tone, too. I was floored. This was about 30 years ago
Holy cow! I stopped playing after high school in 1992 because I was too frustrated over my limited range. Fast forward almost 31 years later and my son (now in high school band) kept after me until I started playing again. This simple technique has already changed the way I look at playing my trumpet and rekindled my love for playing! Thank you!!!
This is awesome. The TLR thing has worked wonders for me. I never realized how much tension was in my top lip while playing. I can actually play with a warm, dark sound now. Thank you so much!
dear Mr Mayers thanks a lot， you are really master and educator，by see you video and practice what you teach ，only for few hours，now I can play double high Bb easy and relax，I have only been play Trumpet for one year，just yesterday I feel so hard to play high Bb，you really help me a lot， really appreciate your work！！！！！！
I find Paul’s teachings & approach so helpful. These tips & videos, combined with his own playing demonstrations & excerpts, plus students playing at various levels, are invaluable sources of visual & aural references to learn & inform ones own personal work & progress through the various arts & disciplines of trumpet (and brass) playing. Thank you for your sharing & expertise Paul!
Thank you Leif. I find students are too easily convinced by great players alone. Having my students demonstrate is a much better way to convince players that these techniques actually work. I'm pleased to know they are helping. TP
I stressed on high notes for years. This is the first explanation that helped me understand “not straining” doesn’t mean “less effort”. If anything it means more effort since you’re using your diaphragm a lot more. But the volume control is so much easier now.
Thank you Mr. Paul Mayes. I too began playing trumpet at age 11, but with public school instruction. At age 14 my junior high school Band teacher gave me the best advice I've ever foolishly disregarded. Then after almost one year of TC Baritone horn at my new high school, I was all but finished with brass, for about four decades. Later, along the way I bought another trumpet and became aware of the Arban method. The 'syllable pronunciation' tactics presented there in relation to tonguing have recently introduced me to breathing, throat and other anatomical factors of which I had been completely unaware. But now, understanding the value of what Mrs. Burkhart recommended that I should do with my life, a lifetime ago now, the study of trumpet is giving me frequent moments of excitement, and even elation - at age 66. And, so have your absolutely wonderful RUclips videos. One easy question please: How old is/was the oldest trumpet player you've ever known who could still play skillfully, joyously? Thank you very much. Gary
Gary, thank you for making contact. It's stories like yours that really make every second spent making these videos worth it. The answer to your question is easy. Just click the link to reveal the answer!!! (This is not a scam!) ruclips.net/video/McMjEQTcbYk/видео.html
Hello Mr. Mayes, firstly thanks a lot for sharing this precious videos. I gave up playing trumpet around 6 years ago because of the high frustration on both getting the high notes as well as resistance and was playing for the past 10 years before deciding to stop. I have started watching your videos recently and decided to give it a go. I started 2 days ago for now little improvements so far and strictly following your advices I am also ready to contact you for lessons, this time I don’t want to give up. Thanks again for what you are doing!! This is truly appreciated 😊
This man is brilliant. These approaches are spot on! He is right- the greats DID in fact have a bit of air in the cheeks when really playing high with authority. I always wondered about that and have been experimenting a bit with this since watching this vid and the results are very welcome to sya the least!! Thank you for your beautifully well presented techniques! I wish I had known about this during my 11 years on the road with Dallas Brass... better late than never. BRAVO!!
After picking up the trumpet after 35 years, Paul thanks so much in your clear and pleasant videos. I walked away from college music studies because I became so discouraged in my inability to progress in range and endurance. Thanks
Hi again Jeff. Thank you. I put a great deal of time and effort into delivery. I almost walked away too so this channel is for those who did and those who didn't. The problem is that the "answer" is always different from player to player. Setting potential is the first step but unfortunately that's generally what's missing in trumpet pedagogy. I've been working on a fundamentals method for ages now. It's almost done but it's so important to get right because it creates and shapes the path of the player. I hope it will finally help the players of tomorrow avoid the same range and endurance issues we did.
Thanks Chris, I totally agree. It clearly demonstrates that balance can substitute strength. The better the balance between the physical components the less strength is required. Pure efficiency! TP
You say in the beginning that this is for advanced players, but in truth this has been immensely helpful to me as a beginner (i started 3 weeks ago). There are many people who play well but teach badly. You're the first person I found who has explained and described the nuances so well, how there are so many more factors in play, why something happens or is done, and possibilities one can explore relative to their own anatomy. Obviously I cannot do your exercises perfectly yet, this is setting me at least in a good direction of practice. I will for sure revisit these lessons when I'm further along in my progress.
Dear Paul, thank you so much for sharing your lessons with trumpetplayers all over the world I do learn a great lot from your videos. After having played the trumpet for 25 years and a French horn for 15 years I had a 'musical break' the last 10 years ( I'm 61) Now I'm in the fortunate circumstances that I can 'build the engine' from the bottom ( my dream is to play in a Big Band when I'm ready to do so) I do have a question that is coming back to me all the time - you speak about the Top lip , but what about the Lower lip ? What is its function ? How should I place and use it ? Best regards from the Netherlands : )
Thanks a lot for this videos, it's really helpful! Your channel is a happy discovery in this covid context! The technic with the tong to improve the air pressure by improving resistance with the tong is really helpful for me to get high note while having no tension in the upper lips! But you said it's not the technique that you usually use, I m really interested that you explain the other techniques about improving air pressure an other time!
this is the first time I listened to the Trumpet Prof. Yes, good info, nice pace, valuable lessons. I will modify and change my practicing and playing accordingly, and confidently expect improvement. thanks.
I am a former student (in the 50's) of Leonard B Smith. I stopped playing after graduating from high school in 1957. I am interested in starting up again. Thanks for your wonderful video.
These instructions are priceless. Paul I can create the back pressure, I can softly blow a top line f# from there I hit a wall I cannot get past the first G over the staff unless I force it with mouth compression. If I try to blow softer faster air I just hit a wall and I am pretty much stuck at the G ( unless I force it with tonging and brute force. It’s like a magic trick I am not able to solve yet. I saw a 12 year old girl on the internet effortlessly reach a double C so I know it’s not all about strength ( I am very strong winded) there’s an element I am not discovering yet. I’ll keep pressing on tho, the light has to eventually flip on for me. I believe your son has a better grasp on it than me already, I am a 4 year intermediate player. Thx for all you do for us, Paul.
Hi PB and thank your for your message. It is great to get feedback and the appreciation is very much appreciated! Sounds like you're getting on well with two of the tips. Focus now on creating resistance and using the high tongue. Watch from 14:54 and spend some time experimenting and let me know how you get on. Good luck. TP
The Trumpet Prof: making progress, coach. Very early in the morning when my chops are springy and fresh I can get to a soft quiet first “a” above the staff, from there I can toggle B then to blow my desired C ( first C above the staff) as the days wears on I can continue get to the “A” but longer can I get to middle valve B or open C. I feel this is cheating to some degree because i cannot blow an open C at will without climbing the later...a work in progress, I am enjoying viewing your video’s multiple times. The one thing I am excited about is how much air pressure I am sensing on my first A above the staff, it’s a vet secure feeling for me hopefully soon I can move to a B-flat for my first starter note them move to my C. Thx 🙏 so much, Paul. I trust all is well your way.
First day, and can do it, though not very beautifully, down to G, but bottom F#, while it's ok in isolation, comes out very mangled when I slur down to it, as here. Thank you. Brilliant lesson.
Thank you, always useful and clear ! Could you also make a video on low notes ? I manage to get them out, but they don t sound nice nor natural. It is even worse after playing some time.
Hi. This one! I haven't spoken too much about it but this video from 13:50 refers to two very basic ways to set your tongue technique. (unless you mean articulation which I haven't done yet) TP
This is quite an interesting video. I've been trying to get myself back into playing after several years off, and I've been struggling with a thin sound over high E or so. Changing up my tongue position as you demonstrated here, combined with focus on keeping my upper lip a bit more relaxed opened my sound up all the way to a G. (A above high C is a devil on my horn, so I'll address it another day - much easier to get that one out on my daughter's student horn than my Strad). I'm hoping to have some jazz playing again in the near future, so opening that register up is a big help.
BTW... I am QUITE SURE that I heard your 4-week veteran trumpet player son blowing a high G (double G? I dunno the terminology)- yeah that one up there with a bunch of leger lines. AWESOME to hear!!!!
Thanks for the great step by step process! You mentioned that you don't create resistance primarily with your tongue. Are you going to do a video about how YOU create resistance at some point. I know I'd be very interested to understand that.
What I find difficult is playing high notes in rapid staccato: you interrupt the flow every time you play a short note. As I get to the higher notes, that is where I start to tighten up. THANKS so much for focusing on keeping the top lip flexible. I will be breaking these exercises down and working with them.
Thank you so much Paul! I have been trying to work out whether I can come back to school at SWCHS to have a trumpet lesson with you again but you have made these excellent videos! No need to try and fit into the old school uniform. On just the sort of things I have been wanting to work on! Thnaks again for this and for teaching me in the first place. I am love the trumpet! Have you thoufjt about doing the trombone prof?
Thank you Paul, these videos are brilliant! The coin blowing is working already, after only two week, I have progressed from a feeble two 2ps to 4. It's hard to keep the top lips relaxed when playing, but I think I just had a breakthrough. While playing a scale, I suddenly noticed the point at which the sides of my mouth pulled back in order to play higher...so I tried again, increasing the air pressure at that point and played up the scale without my lip becoming rigid. does this make sense? Im not one of the experienced players these videos are aimed at, but perhaps it's easier for a relatively new player (3 years) to cultivate new ways of playing than someone who's been playing for many years..
Charlotte so sorry I missed this comment and didn't respond before. Yes this makes absolute sense. You have made a positive rebalance. It takes time - I really can't stress that enough, but your experience and perseverance is the perfect example of the way this needs to be approached. I agree with your second point too. When I started this channel I underestimated the beginner and intermediate player and that they have the same aspirations in the long run as a more advanced player. The only difference is your starting point. These videos are very much for you as well!! Thank you. TP
Absolutely great and amazing.. it’s so nice to find a colleague in the same spirit.. this is a very very good example for a student who will never struggle with high notes and range flexibility and sound. This is the biggest mistake what you can do to start on low notes for beginners that’s why most of the written paper especially in modern style is bull sh...t. Sorry for being straight. I am out of age to telling stupid things. Thank you very very much for sharing this and as I said before I hope there will be a time where I can meet you in person. You’re totally right..
Sir, thanks a lot for your videos! They have inspired me enormously. I can do the excercise shown in the video at 4:30 with relaxed throat but when I try to play high I feel a lot of tension in my throat. Is this a bad thing? If it is how to overcome this problem?
Hello Misa, thank you for your comment. Keeping the throat relaxed in the upper register is not as easy as in the lower range of the instrument. The body is pushing air against greater resistance from the reduced aperture/higher tongue and this often triggers tension in the throat. Think about when you start to feel the tension (which note) and practice starting that note with silent air first (air moving through the instrument without vibration). Slowly build air speed/blowing effort until the note begins to resonate, always focusing on the sigh (pushing the air from your chest) and hold the note for several beats, holding on to your sensation of the sigh and not increasing the blowing effort beyond what is needed to create resonance (sound). Continue this process in semitones. Hope that helps. TP
I understand what you mean by using your chest to apply the proper air pressure and I can feel the difference. But I don't understand why. We have always been told to breathe like a baby does naturally using your diaphragm to breath not expanding your chest. The diaphragm is a powerful muscle. How is it that with the trumpet it works better the opposite way? Your lessons are invaluable. Thank you for taking the time to post it on you tube...... Nathan Shasho, Brooklyn, NY
Hi Nathan. I thought I'd replied to this but obviously not!! I suppose the easy answer to this is unless you try, you never know! I really believe in experimenting with different approaches. Be creative with your thinking and if you find something, take it to the extreme, because it's easy to reduce something but not increase it. All my techniques and methods work; not just for me but for the many. I test them and develop them with my students so I'll never put out anything that doesn't have substance and benefit. BUT, I really urge players to take them as general principles or rules and then experiment. If you discover something let me know. I love doing this stuff and we can all learn from each other. Best, TP
Thanks for the video Prof. Mayes. All my teachers taught me to play with the sound but not the sensation, you are the first I saw to really recommend students to check the sensation and it really helps! Do you think the methods are useful to other brass instruments such as trombone?
Hi Victor. Checking TLR in the higher register is possible but not straightforward. Better to create and become comfortable with the feeling of TLR and then try to transfer that to your higher notes. You will get some increase in the level of tension as you ascend and it is best to allow this to happen until you are at your desired pitch when you can then try to let go of it or reduce it. I will be going in to more detail in future videos but I hope that helps for now. TP
Hello TP😊 The first time I watched your videos they seemed to får away from my own thinking, but then yoy dicussed about ressonance and that måde a lot of sence now I heard your søn and notised his playing without much effort, as you advocates. Then I saw Alex from Trumpet Brain and he did mention you as a great inspiration and he is sounding really good! So now... To hold the lips and play relaxed as possible does that not going in directiln of rather small mouthpieces with flat rims combined wiyh more recistance from a shallow cup? I am looking forward to feel the difference in my playing following your ideas! Take care. Erik Denmark Long time player 😇
Thanks Erik. I'm so glad you left this comment. My ideas are different but unless players adopt a "different" approach they will all play in a similar way and have similar issues . . . HIGH NOTES!! So conventional techniques produce common problems. The main trouble with "different" is it's not "the same" and therefore human nature makes us feel sceptical and wary about it. That's fine, I understand that. Listening to me talk and demonstrate my own techniques isn't really going to convince anyone (and shouldn't) that they will work for others. But getting my students to demonstrate proves they work. Not just one student but lots. Students of different ages and abilities: Alex Brain, Lucy Humphris, my son and the 15 or so students in my first TP video. And you will see many others in future videos. Thanks again. TP
@@TheTrumpetProf Hi on a nice monday😊 Thank you for the rappid answer. Read thrugh my first comment and I do apologize for my spelling... That was too bad but you read it anyway! Thank you. Resently I had a surgery in my lip, so I do need a way of playing that advocates the most relaxing lips. Your ideas seems to go in that direction. In addition to that I like the ideas of "the body" plays the trumpet! A last advice for now... Do you advocate small and flat mouthpieces? Thinking of less air in the cup an higher resistance also? Thanks again😊👍
@@erikandreasbonde551 Hi. I believe in playing the smallest mouthpiece you can which produces the very best sound. It is important to create the highest level of resistance away from the mouthpiece. Your mouthpiece will then just add further resistance and give you even more help but start with YOU and what YOU can produce in your most natural state. That's your default. You should never need to totally "rely" on your mouthpiece. Hope that helps. TP
Thank you for these great video's. I have a question. What do you think about the upstream and downstream embouchure concept? I place my mouthpiece low on my mouth and therefore play with a small surface of the upper lip (upstream). Do you regard this as an obstacle to being able to play high?
Hello Ellen, thanks for the question. I'm not entirely sure what you mean because your explanation crosses a couple of ideas but I'll address both. Upstream/downstream really refers to the direction of the air stream. If you blow air up your nose you are blowing upstream and if you direct it at your chin you are downstream. So upstream players will have their instruments pointing up because their jaw will jut forward, and downstream players point the instrument down as their jaw is back as with an overbite. There are plenty of examples of great upstream and downstream players so this causes no obstacle. You mention placing the mouthpiece low on your upper lip. The border between the white and red area of the lip is called the Vermillion border (great name!) and placing the mouthpiece below the VB is considered to be bad practice. I don't entirely agree it is always bad but in most cases it would be better to place the mouthpiece a little higher. The less top lip mass you have in the mouthpiece the easier it will be to play high BUT it will be more difficult to gain technical control in other areas. If you actively use your facial muscles to predominantly control your playing, a low placement probably isn't such a wise choice. If you have good TLR (top lip relaxed) it is less important. Hope that helps? TP
Very solid and sound advice, with unique perspectives. You pack a lot of content into each video. Some of the onscreen text is tiny--I have to stop rowing to read it. :) Keep 'em coming, Paul. Do you ever attend ITG?
Thank you for such helpfull tips! To stop and take notice of how the body works when playing the instrument. I play the flugelhorn (only 4 months) and can for the most part play clean notes, however, my lower D seem to always sound raspy/hazy. Any tip would be welcome...
It is not uncommon for certain notes to change sound but in your case I would persevere and give it a little more time to develop naturally. If it doesn't, there are things that you can do. TP
Professor, You mention kick the air as part of the pressure required to ascend and hold similar pressure while descending. Claude Gordon and Jeff Purtle talked about kicking the air. This great information to have but how do you go about kicking the air? Any suggestions would be appreciated ... Ray G
Hi Ray. When you cough you kick the air. If you huff aggressively you kick the air. Try blowing out a match through a straw! That's what I mean by kicking the air. TP
I wonder if this is similar to Lynn Nicholson's unfurling concept. Regardless, I've never tried the straw exercise before. Seems way more beneficial than clenching a pencil with the lips. I'll be revisiting this video a lot.
Hi paul, those were great tips! but I'm still struggling a bit to keep my TLR when I have to play longer sequences or in higher registers... I always feel that my face muscles start to tighten up and I have to really force myself to get loose again... any advice on working on endurance and to have the TLR?
Hi. I'm not saying you can't or shouldn't have contraction in some of the facial muscles. Just not the top lip. This is an issue for many so I'll do a video just on TLR. I think the other thing I can't stress enough is it will take time. At first you need to mentally override the desire to contract the top lip. That means you have to totally isolate that aspect of your playing until you achieve it. Then you need to introduce a simple tune which takes no thought or processing power and maintain the sensation of TLR. It will be several months before you can play challenging or new music without those old sensations returning. It will be worth it though I assure you! TP
Thank you for these videos. Do you have any tips on how to keep your lips set for a longer period of time? A lot of the times my saliva gets on my lips as I play, making my lips slide of my ambusher position although my lips and face are not yet worn out.
Hi Deshai, that's not an easy question to answer! Keep wiping them regularly (that's a pretty obvious suggestion and one I'm sure you've considered). Keep the rim of the mouthpiece (that sits on your lips) clean. When it is, it has a bit more "grip" to it. Have you tried mouthpieces made of different materials? Sorry not to be more help. I'll give that more thought! TP
The Trumpet Prof Wow, thanks for noticing my comment! For marching band I use a silver Bach megatone 3c On our cheap King trumpets owned by my college and for my lessons I use a regular Bach 3c however it has a gold plated rim on my Bach trumpet.
@Stuart Bowes Great advice Stuart. Not a problem I've heard before but looking at diet makes sense. To take your suggestion further maybe look at not only avoiding certain food types but introducing certain types that "dry" the mouth. Many players suffer dry mouth (opposite of you and Deshai) and I remember a colleague suggesting that brushing your teeth before a performance will augment the problem. Thanks. TP
Thank you@Stuart Bowes , This comment was very helpful! I will definitely consider this things. Slightly changing my tonguing method may help some. Maybe a way that my tongue is a bit further from the opening of my lips.
@@Shaibutta54 Two factors may be involved: The Megatone will give you different resistance due to the increased metal surrounding the outside part of the cup. Second, gold plating with a wet embouchure tends to slide around for some players. Try using the same silver plated mouthpiece for a period of time, keeping in mind your mouthpiece contact points with your inner embouchure.
As I relax the top lip I feel it is now responsible for the vibratiion while the lower is less so (not absolutely sure about this). Almost as if the top lip is playing the equivalent part of a sax reed while the lower is the surface of a reed mouthpiece it vibrates against. The larger mouthpiece of a trombone, for example certainly feels like both lips are moving equally.
The ratio is often different depending on the way a player sets up. High mpc placement gives less lower lip mass so the upper lip is the dominant vibrating force through most registers. Low mpc placement often means the lower lip dominates the lower register and the upper lip the higher register. For me lower placement is more efficient but it depends on the dental structure and lip size. TP
Hello Andrew. The corners can be firm. The lower lip can contract. Just don't let the top lip contract. You won't be able to do it to begin with so don't expect quick results with this. Just aim to let go as much as you can as often as you can and try to let the mouthpiece support the the top lip more. TP
I was wondering if you knew how these tips would apply with the upper registers of other instruments? I play horn and trumpet and I was just curious if this Would help my horn playing as well?
Yes these techniques will help. They are not necessarily instrument specific they are techniques to allow natural interaction with whatever vibrating system you play. Frequency doesn't care what instrument you have in your hand and these techniques will help you get your lips vibrating faster more efficiently. TP
That's crazy that your son can get those notes after 4/6 weeks - there's people I used to play with who were nowhere near after years and years! I'm struggling to conceptualise/use your technique with the high resistance and relaxed lip, as I'm so used to playing differently. Does your jaw or tongue move at all when you go through the register?? I now realise my previous technique relied mostly on moving my jaw backwards and tightening my lips to raise the pitch, whereas you seem to be able to do it without moving your mouth at all but instead pushing more air out with your stomach?
Hi Matt. It's all about resistance. There are so many ways to increase resistance and I have touched on a very basic one in this video at 13:50. Yes I am regulating as I go high and low but what "I" am doing probably won't help you which is why I'm not sharing that yet. What am am sharing will work for everyone and allow you to understand in practical terms what I am explaining. TP
Hi Paul. Didn’t know where to put this question, so I’ll just put it here: As I’ve been changing my approach to a more relaxed one (the sighing concept has been revolutionary for me-thank you!), I’m considering a mouthpiece change to the Prana resonance, which is supposed to work in conjunction with a more relaxed setup. I also play on a Shires (Destino III) and wondered if there were any potential issues I should be aware of? I know a mouthpiece doesn’t automatically cause you to play correctly, but I thought it could be an important part of the change. I think you mentioned that it took you a while to adjust to your monette mouthpiece. Did the concepts you teach here help you to adjust to the new mouthpiece? Thanks!
Hi Nick sorry for the delay in my response. The Prana is THE mouthpiece for me. I owe it far more than I really let on but it is not for anyone looking for a quick fix which clearly you are not. The concepts I am teaching will definitely allow you to get the most out of the Prana and for the Prana to work its magic for you. It took 3 months for me to really settle on it. Jason who works at Monette was right on the money when he told me to give it time. The first time I tried it I was devastated because I was expecting things to happen immediately. On paper and in theory it was the perfect fit for me but the upper and lower registers were weak and transparent at that time. It taught me a valuable lesson and not one I would I could have learned any other way. Hope that helps. Let me know if you get one and how you get on. TP
The Trumpet Prof. Thanks so much, Paul, for the words of experience. I’m actually awaiting the arrival of the Prana now. Appreciate the advice to not expect too much too soon. Monette talks a lot about center of pitch and I’m wondering how much I’ve unconsciously adjusted my notes previously. We will see. I’ll keep you posted. Thanks again!
The Trumpet Prof Paul, just letting you know I finally got in the monette mouthpieces (you had asked me to let you know). Actually, one I ordered had gotten lost in the mail and so I ordered a second one but now both have showed up: a B6 S1 and one like yours, a B4S S1. Holy cow, I feel like I’m having to learn to play a whole other instrument. So far, I’ve only gotten about 2 notes out that I like, the rest sound thin and strained. But every once in a while, it (Me) loosens up and feels really easy. I have to admit I’m stunned at how tight I must still be playing since I’ve been working for months now to relax my approach. Your story is an encouragement to me, though, so I’m going to dedicate 3 months to it, like you did, and see what happens. Any pointers in these early days of adjusting?
Hi Nick. Make sure you read up on the mouthpiece and the thinking behind it. You've probably done this already but there's plenty of info on Monette's website. I'm a stickler for reading instructions (I think everything should come with instructions including trumpets but that's some way off |I think) but Monette does provide them. It will be a journey, but your objective here is to let the mouthpiece help you to let go of control. When you put the M in the receiver you are releasing the handbrake on your car! Think of it like learning to ride a bike as a kid. Most have stabilizers attached to get started but once they are removed it takes a while to find balance. When you find balance you relax more and develop the confidence to go faster. That's what I found on my mouthpiece. Give your body time to re balance. My Monette is my most valued possession and I hope it will become yours too. Good luck and keep me posted. TP
Hey Trumpet Prof I just recently started watching your videos because I am a collegiate level musician who has been going through a complete embochure change since about January of this year. At first I was kind of wary of my progress but then I started to notice the positive changes the more I practiced but now I need help with getting back my articulation and my range plus a few other things. I was just wondering if you could make a video on dealing embochure changes and the proper way to redeveloping the skills that are essential to proper trumpet playing technique
hi paul, first of all, thank you for sharing your wisdom! your videos are really great! obviously you are not only a great trumpet-player, but also a real teacher. thank you for that! i am trying to play the trumpet for about five month now, and somehow i managed to feel quite sure and save from c' to e", and since some weeks it even sounds good. even the g" from time to time i managed to reach and even make it sound nicely, but at the moment i am a bit frustrated, because since some days i no longer get grip, there is always air in the tone, even on the most simple notes, like for example g', and i hardly reach e". do you have an idea what actually could be the reason for this? but anyway. what i actually wanted to ask: what do you think about practicing with closed front teeth? do u think it can be useful? i am trying this and sometimes with closed, touching front teeth i can produce quite high notes, but i am not able then to transfer them to a normal playing with open teeth. thank you and best wishes, gerd
Hi and thank you for kind words. That's a really interesting question you pose regarding practicing with closed front teeth. I think it can be beneficial in setting but not in playing. So, try placing your mouthpiece/trumpet with teeth closed and as you sigh/blow, gradually drop your jaw (either before or after the sound starts). Experiment with how much but try to maintain a higher level of resistance. You want the sigh to feel heavy. Let me know what happens. TP
@@TheTrumpetProf hi paul, thank you so much for your answers! it feels great to be able to get in touch with a real master, and actually for me ar real master is not only a person who is exeptionally good in what he does, but also someone who wants to pass on his knowledge to interested people and students. i am now trying what you suggested, for the moment i start with closed teeth and after the sound has started i carefully open the teeth and try to maintain a similar feeling of the embouchure. and so far it seems to work - to the quite high level of resistance there comes more control and more resonance and of course a better sound. next thing i have to work on: i tend to place my mouthpiece quite low, the upper part of the mouthpiece already hardly gets over the upper limit of my upper lips. like that for me it feels like i have more control and can play higher notes more easily. and the upper lip still can vibrate. but i think i have to stop this, and get more to the middle again with my mouthpiece. thank you again for your time and for sharing your knowledge, best wishes, gerd
@@seifenstander508 Hi - great to hear you have had some success with that! Mouthpiece placement is a very personal thing but my advice is to have the mouthpiece as low as possible but above the vermilion border. You can probably guess what the vermilion border is - the border between white/red. The reason is simple; less mass will vibrate faster. So when you take it off your lips after playing, just be aware of the top of the "circle" and where it is. Keep me posted and good luck! TP
@@TheTrumpetProf hi! that's an interesting and unexpected answer! As i mentionend, i had already experienced things easier with a quite low mouthpiece, but i always thought somehow, that's cheating, better not do that, better try to keep it in the middle, even though it feels more difficult. My fear was to maybe block the upper lip too much with a too low set mouthpiece, to give it too little space to vibrate. But your explanation about the vibration sounds very reasonable to me, so i will go on with that without a bad conscience. But besides this i will also continue to try to get high notes with a centered set mouthpiece - for practicing reasons. And i think on my stage, as an absolute beginner, it's maybe a good idea too keep experimenting, try different things, practice very variably, to get a better feel of what different setups do. However - it's great fun for me to practice, and the trumpet is an absolutely fascinating intrument. I am so eager to reach some little senses of achievement every day, so practicing never becomes boring. Thank you again for your time and your commitment! All the best, gerd
I swear "the sigh" is the thing I've been missing this whole time. It's why ive hit a wall for so long if I had been told about that I think I wouldve done better. But I still blame myself for the wall for lack of work ethic.
My most sincere thank you for you good sir! This was a really nice video watch with really well thought out instructions! Please have my "like and subscription" as my humble way of thanking!
Hi Alessandro, that's quite normal! Keep working on the TLR and Sigh techniques and you will improve. This exercise will allow you to see your development. Thanks. TP
The b flat is an interval for open on trumpet, in the opening he is just doing lip slurs up and you can tell after the g he goes to the b flat before high c
Just rewatched this a couple of times and wondered - do you set the tongue in the higher position and keep it there whatever register you play in? So it becomes your normal playing setting? Thanks.
Hi Anthony. In your practice yes. Even if the lower notes don't sound as good, try to play with the tongue "locked" because your other components will rebalance in a positive way. Remember the exercise from the first video, going in on a higher note and dropping down the harmonics? Don't worry about the sound of the lower notes to begin with. Thanks for the question. It's really important and useful for me to know how everyone is interpreting the instructions. Good luck. TP
hi paul, normally it's said, that you need to build your mouth- and lip-muscles to be able to resist the air-pressure which comes out of the lunges in order to play higher notes on the trumpet. as far as i understood, your playing is much about air-pressure. how is it possible, that your son after only some weeks of practicing can play quite high notes? are his muscles around the mouth already that much developped, or is it just about some special technique he is using? what i noticed concerning my resistance: when i let my chops blow, when i dont try to hold them narrow, then i get better resistance, without contracting anything. that's as well what you mentioned in your video, that it's allowed to let the chops blow a bit. but probably too much is too much. so i guess i have to find somehow a limit on half way or so. yourr son doesn't let the chops go, does he? and what are you telling him about this? thank you very much for your answer and best wishes, gerd
Again you make a very good observation and raise an important point. My son has a relaxed top lip and I have built his engine in a way that is unique to him. It is not wise for me to get specific with my video content yet because it wouldn't work for everyone. Everything so far CAN work for everyone but it all takes time. Relaxation is important but so is contraction. I prefer to talk about the muscles that need relaxing (top lip) rather than those which require contraction because again everyone will be different. In general contraction will happen naturally anyway. The only muscle which you need to keep relaxed for now is the top lip! TP
You mention that using the tongue is not your main way of creating resistance (any more). What other way do you create resistance? If you're keeping the lips relaxed (not trying purposefully to make a small aperture size), and the tongue isn't doing it... what other method is there? Most, if not all techniques, I've seen use one or the other. Thanks.
Hi Hans. I don't "put" the tip of the tongue anywhere. I let it go where it wants to go. We mustn't try to control everything, only certain areas of our technique and certain components. When I set my high tongue position using the whisper technique the tip of my tongue naturally falls behind my front lower teeth. When I set it using the cheek tapping technique it floats. Both techniques set the tongue high but set other areas differently. It is not important to set the tip of the tongue only that it acts sympathetically and indirectly. TP
@@TheTrumpetProf my tongue floats in both positions but I have always been told that the tongue tip should be behind the lower teeth. I can get high notes when the tongue floats but not when i force it behind the bottom teeth. Thanks for your input.
Yes plenty, but I'll make them in a video! There are two main ways to improve stamina: 1. Fatigue or exhaust the muscles then rest and repeat the process 2. Change something physically Most players will at some point try the first option which is likely to bring some progress but is not an efficient approach. This "type" of player will lose range when tired. A highly efficient technique will still become tired in feel at some point but won't lose range as a result. All the things I have shared in my videos so far will help improve stamina because they are the building blocks to playing more efficiently. It's no different to any other physical discipline which requires you to generate power. It's a balance between relaxation and strength. Technique will take you closer to efficiency. Hope that helps. TP
Hi Arthur. Lip stamina is developed more through relaxation than increasing strength. When you suddenly blow faster what happens? If the note gets louder try to experiment with your lip and tongue settings until the note goes high; even by just one harmonic step. If you are primarily using your lips to change pitch, your stamina will not increase as quickly or efficiently as using a different approach. Good luck. TP
Blow some air at your hand and slowly close your lips until they are shut. You will feel the air pressure build because you are gradually increasing your resistance to the air. TP
@@AndrewPinke Yes it is but most think of the "aperture" as the lips. You can form an aperture other ways like raising your tongue toward the roof of your mouth or gradually closing your throat etc, I'm not telling anyone to specifically do any of those; all I'm saying is create resistance somewhere preferably in a way that allows the top lip to remain relaxed. Hope that helps. TP
Sir... I am playing trumpet 27 years...now i am playing...but i cant play high notes...my lips getting tired fast....i know my playing style and position not correct....can u plz help me....
My advice is in the videos. But you have to LISTEN TO EVERY WORD. You won't play high unless you have resistance and create air pressure. Make sure your lips have enough space between them so they don't buzz freely without the trumpet. TP
Resistance does NOT create pressure. ONLY the action of exhalation creates pressure. See the videos on my channel for the ACTUAL application of air mechanics to playing.
Mr. Mayes with all sincerity you are a genius. Let me tell you something, I have watched thousands of videos in RUclips because I’ve been playing trumpet for a looong time and I have never been able to play it correctly UNTIL AND I MEAN UNTIL I watched this video. After so many years trying to put it together I’ve manage to do that with this video. Now, using these three methods I’m getting better and I still have a lot of work to do but, at least now I’m able to play freely without pressure, hitting the high notes and not getting tired. I’m able to practice for hours and for the first time in my life I’m able to enjoy playing the trumpet. So, thank you thank you very much. Please everyone watching this video, pay attention to every word this man is saying and I guarantee you will get it too.
Misael thank you for your kind words and for realising you need to pay attention to every word. I hope others will follow your (and my) advice. Keep in touch. TP
Nothing like seeing progress in one's own playing. Play on!
THIS IS UNBELIEVABLE ! I have been playing for about five weeks and this has changed the game. Got me hitting almost two octave above middle c
This sighing with the straw for resistance helps me make sense of some advice I got 20 years ago from Guy Few: "connect the notes (play) as if you are blowing into a thin flexible straw" (paraphrase). I never got the chance to unpack that concept but I think it relates to this video.
my son (at 14 yrs and NEVER allowed to touch my horns) picked up my 1952 French Besson (.470 bore) and played a loud, perfectly in tune, E over high C. Great tone, too. I was floored. This was about 30 years ago
Some may say he's just a natural. But everything happens for a reason! Thanks for sharing. TP
Holy cow! I stopped playing after high school in 1992 because I was too frustrated over my limited range. Fast forward almost 31 years later and my son (now in high school band) kept after me until I started playing again. This simple technique has already changed the way I look at playing my trumpet and rekindled my love for playing! Thank you!!!
Many thanks Scott. Much appreciated and I'm glad to hear you are back on the horse again!
This is awesome. The TLR thing has worked wonders for me. I never realized how much tension was in my top lip while playing. I can actually play with a warm, dark sound now. Thank you so much!
dear Mr Mayers thanks a lot， you are really master and educator，by see you video and practice what you teach ，only for few hours，now I can play double high Bb easy and relax，I have only been play Trumpet for one year，just yesterday I feel so hard to play high Bb，you really help me a lot， really appreciate your work！！！！！！
I find Paul’s teachings & approach so helpful. These tips & videos, combined with his own playing demonstrations & excerpts, plus students playing at various levels, are invaluable sources of visual & aural references to learn & inform ones own personal work & progress through the various arts & disciplines of trumpet (and brass) playing. Thank you for your sharing & expertise Paul!
Thank you Leif. I find students are too easily convinced by great players alone. Having my students demonstrate is a much better way to convince players that these techniques actually work. I'm pleased to know they are helping. TP
I stressed on high notes for years. This is the first explanation that helped me understand “not straining” doesn’t mean “less effort”. If anything it means more effort since you’re using your diaphragm a lot more. But the volume control is so much easier now.
I'm really interested in hearing the way players interpret these techniques. It really allows me to develop my explanation and delivery. Thank you. TP
Thank you Mr. Paul Mayes. I too began playing trumpet at age 11, but with public school instruction. At age 14 my junior high school Band teacher gave me the best advice I've ever foolishly disregarded. Then after almost one year of TC Baritone horn at my new high school, I was all but finished with brass, for about four decades.
Later, along the way I bought another trumpet and became aware of the Arban method. The 'syllable pronunciation' tactics presented there in relation to tonguing have recently introduced me to breathing, throat and other anatomical factors of which I had been completely unaware.
But now, understanding the value of what Mrs. Burkhart recommended that I should do with my life, a lifetime ago now, the study of trumpet is giving me frequent moments of excitement, and even elation - at age 66. And, so have your absolutely wonderful RUclips videos.
One easy question please: How old is/was the oldest trumpet player you've ever known who could still play skillfully, joyously?
Thank you very much. Gary
Gary, thank you for making contact. It's stories like yours that really make every second spent making these videos worth it.
The answer to your question is easy. Just click the link to reveal the answer!!! (This is not a scam!)
ruclips.net/video/McMjEQTcbYk/видео.html
This is the greatest trumpet video on the internet!
Hello Mr. Mayes, firstly thanks a lot for sharing this precious videos. I gave up playing trumpet around 6 years ago because of the high frustration on both getting the high notes as well as resistance and was playing for the past 10 years before deciding to stop. I have started watching your videos recently and decided to give it a go. I started 2 days ago for now little improvements so far and strictly following your advices I am also ready to contact you for lessons, this time I don’t want to give up. Thanks again for what you are doing!! This is truly appreciated 😊
This man is brilliant. These approaches are spot on! He is right- the greats DID in fact have a bit of air in the cheeks when really playing high with authority. I always wondered about that and have been experimenting a bit with this since watching this vid and the results are very welcome to sya the least!! Thank you for your beautifully well presented techniques! I wish I had known about this during my 11 years on the road with Dallas Brass... better late than never. BRAVO!!
Thank you. I too wish I had worked things out a bit sooner. Sounds like you did ok though! All best, TP
Thank you so much. I was stuck on e for so long and I hit a double g easily!
After picking up the trumpet after 35 years, Paul thanks so much in your clear and pleasant videos. I walked away from college music studies because I became so discouraged in my inability to progress in range and endurance. Thanks
Hi again Jeff. Thank you. I put a great deal of time and effort into delivery.
I almost walked away too so this channel is for those who did and those who didn't. The problem is that the "answer" is always different from player to player. Setting potential is the first step but unfortunately that's generally what's missing in trumpet pedagogy. I've been working on a fundamentals method for ages now. It's almost done but it's so important to get right because it creates and shapes the path of the player. I hope it will finally help the players of tomorrow avoid the same range and endurance issues we did.
The demonstration of the son playing is so incredible! This video is priceless.
Thanks Chris, I totally agree. It clearly demonstrates that balance can substitute strength. The better the balance between the physical components the less strength is required. Pure efficiency! TP
You say in the beginning that this is for advanced players, but in truth this has been immensely helpful to me as a beginner (i started 3 weeks ago). There are many people who play well but teach badly. You're the first person I found who has explained and described the nuances so well, how there are so many more factors in play, why something happens or is done, and possibilities one can explore relative to their own anatomy. Obviously I cannot do your exercises perfectly yet, this is setting me at least in a good direction of practice. I will for sure revisit these lessons when I'm further along in my progress.
Thank you for your comment. It's no longer a channel for advanced players only! I'm pleased to hear it is helping you. TP
Very important video for any one who wants to improve trumpet playing. I certainly learned something new. Thank you.
Dear Paul, thank you so much for sharing your lessons with trumpetplayers all over the world
I do learn a great lot from your videos. After having played the trumpet for 25 years and a French horn for 15 years I had a 'musical break' the last 10 years ( I'm 61) Now I'm in the fortunate circumstances that I can 'build the engine' from the bottom ( my dream is to play in a Big Band when I'm ready to do so)
I do have a question that is coming back to me all the time - you speak about the Top lip , but what about the Lower lip ?
What is its function ? How should I place and use it ?
Best regards from the Netherlands : )
Dizzie Gallespie always had a very puffy face, but was an outstanding trumpet player. (Your instruction videos are very, insightful, Thanks.)
Thanks a lot for this videos, it's really helpful! Your channel is a happy discovery in this covid context!
The technic with the tong to improve the air pressure by improving resistance with the tong is really helpful for me to get high note while having no tension in the upper lips! But you said it's not the technique that you usually use, I m really interested that you explain the other techniques about improving air pressure an other time!
this is the first time I listened to the Trumpet Prof. Yes, good info, nice pace, valuable lessons. I will modify and change my practicing and playing accordingly, and confidently expect improvement. thanks.
Thank you very much!!!! You are a terrific teacher! These tips are excellent! Thanks again. And again, and again.....
smart guy, generous too. all makes sense. very few systems are avail. for this level of
experimentation and discovery. thanks
I am a former student (in the 50's) of Leonard B Smith. I stopped playing after graduating from high school in 1957.
I am interested in starting up again. Thanks for your wonderful video.
Just do it! I'm definitely going to make a video for my "senior" followers. You are all truly inspirational!! TP
These instructions are priceless. Paul I can create the back pressure, I can softly blow a top line f# from there I hit a wall I cannot get past the first G over the staff unless I force it with mouth compression. If I try to blow softer faster air I just hit a wall and I am pretty much stuck at the G ( unless I force it with tonging and brute force. It’s like a magic trick I am not able to solve yet. I saw a 12 year old girl on the internet effortlessly reach a double C so I know it’s not all about strength ( I am very strong winded) there’s an element I am not discovering yet. I’ll keep pressing on tho, the light has to eventually flip on for me. I believe your son has a better grasp on it than me already, I am a 4 year intermediate player. Thx for all you do for us, Paul.
Hi PB and thank your for your message. It is great to get feedback and the appreciation is very much appreciated! Sounds like you're getting on well with two of the tips. Focus now on creating resistance and using the high tongue. Watch from 14:54 and spend some time experimenting and let me know how you get on. Good luck. TP
The Trumpet Prof: making progress, coach. Very early in the morning when my chops are springy and fresh I can get to a soft quiet first “a” above the staff, from there I can toggle B then to blow my desired C ( first C above the staff) as the days wears on I can continue get to the “A” but longer can I get to middle valve B or open C. I feel this is cheating to some degree because i cannot blow an open C at will without climbing the later...a work in progress, I am enjoying viewing your video’s multiple times. The one thing I am excited about is how much air pressure I am sensing on my first A above the staff, it’s a vet secure feeling for me hopefully soon I can move to a B-flat for my first starter note them move to my C. Thx 🙏 so much, Paul. I trust all is well your way.
Homie this is rock solid thanks for the help dude
Fantastic video again Paul!!! Great to hear your lad too. Make sure you change his chops on a weekly basis so he doesn’t get too good please. Thanks.
First day, and can do it, though not very beautifully, down to G, but bottom F#, while it's ok in isolation, comes out very mangled when I slur down to it, as here. Thank you. Brilliant lesson.
TLR - WOW WOW WOW! Second time in less than a week I’ve come across this concept. It’s amazing!
What a great and helpful video. Thank you very much.
Thank you, always useful and clear ! Could you also make a video on low notes ?
I manage to get them out, but they don t sound nice nor natural. It is even worse after playing some time.
Thanks for clear instructions and new ways to make it visible ... at 4:57 What if you only get the crescendo, but not the higher partial?
If you are getting louder and not higher you need to create more resistance for the air.
Hallo, I am learning a lot. Thank you very much. Question: which video explains about the role of the tongue.
Hi. This one! I haven't spoken too much about it but this video from 13:50 refers to two very basic ways to set your tongue technique. (unless you mean articulation which I haven't done yet) TP
This is quite an interesting video. I've been trying to get myself back into playing after several years off, and I've been struggling with a thin sound over high E or so. Changing up my tongue position as you demonstrated here, combined with focus on keeping my upper lip a bit more relaxed opened my sound up all the way to a G. (A above high C is a devil on my horn, so I'll address it another day - much easier to get that one out on my daughter's student horn than my Strad). I'm hoping to have some jazz playing again in the near future, so opening that register up is a big help.
Robert that's great to hear. I'll share more tips in future videos which i'm sure will further help your development. TP
BTW...
I am QUITE SURE that I heard your 4-week veteran trumpet player son blowing a high G (double G? I dunno the terminology)- yeah that one up there with a bunch of leger lines.
AWESOME to hear!!!!
Thanks for the great step by step process! You mentioned that you don't create resistance primarily with your tongue. Are you going to do a video about how YOU create resistance at some point. I know I'd be very interested to understand that.
What I find difficult is playing high notes in rapid staccato: you interrupt the flow every time you play a short note. As I get to the higher notes, that is where I start to tighten up. THANKS so much for focusing on keeping the top lip flexible. I will be breaking these exercises down and working with them.
Thank you so much Paul! I have been trying to work out whether I can come back to school at SWCHS to have a trumpet lesson with you again but you have made these excellent videos! No need to try and fit into the old school uniform. On just the sort of things I have been wanting to work on! Thnaks again for this and for teaching me in the first place. I am love the trumpet! Have you thoufjt about doing the trombone prof?
Hi! Sorry i didn't get back before. I left swch about 6 years ago but I'm glad the videos are helping. Hope all is well. Paul
Thank you Paul, these videos are brilliant! The coin blowing is working already, after only two week, I have progressed from a feeble two 2ps to 4. It's hard to keep the top lips relaxed when playing, but I think I just had a breakthrough. While playing a scale, I suddenly noticed the point at which the sides of my mouth pulled back in order to play higher...so I tried again, increasing the air pressure at that point and played up the scale without my lip becoming rigid. does this make sense? Im not one of the experienced players these videos are aimed at, but perhaps it's easier for a relatively new player (3 years) to cultivate new ways of playing than someone who's been playing for many years..
Charlotte so sorry I missed this comment and didn't respond before.
Yes this makes absolute sense. You have made a positive rebalance. It takes time - I really can't stress that enough, but your experience and perseverance is the perfect example of the way this needs to be approached.
I agree with your second point too. When I started this channel I underestimated the beginner and intermediate player and that they have the same aspirations in the long run as a more advanced player. The only difference is your starting point.
These videos are very much for you as well!! Thank you. TP
You should do a video on proper vibrato and the style to go for! I have issues where I tend to drop the pitch as I do it with the lips, myself.
The same. I have little control over my chin. So I just shake the trumpet now, lol.
Thank you for this video. Really useful and practical information.
Absolutely great and amazing.. it’s so nice to find a colleague in the same spirit.. this is a very very good example for a student who will never struggle with high notes and range flexibility and sound.
This is the biggest mistake what you can do to start on low notes for beginners that’s why most of the written paper especially in modern style is bull sh...t. Sorry for being straight. I am out of age to telling stupid things. Thank you very very much for sharing this and as I said before I hope there will be a time where I can meet you in person. You’re totally right..
Sir, thanks a lot for your videos! They have inspired me enormously. I can do the excercise shown in the video at 4:30 with relaxed throat but when I try to play high I feel a lot of tension in my throat. Is this a bad thing? If it is how to overcome this problem?
Hello Misa, thank you for your comment. Keeping the throat relaxed in the upper register is not as easy as in the lower range of the instrument. The body is pushing air against greater resistance from the reduced aperture/higher tongue and this often triggers tension in the throat. Think about when you start to feel the tension (which note) and practice starting that note with silent air first (air moving through the instrument without vibration). Slowly build air speed/blowing effort until the note begins to resonate, always focusing on the sigh (pushing the air from your chest) and hold the note for several beats, holding on to your sensation of the sigh and not increasing the blowing effort beyond what is needed to create resonance (sound). Continue this process in semitones. Hope that helps. TP
Really great lesson, such a great way to break down the essentials, thank you so much!
I understand what you mean by using your chest to apply the proper air pressure and I can feel the difference. But I don't understand why. We have always been told to breathe like a baby does naturally using your diaphragm to breath not expanding your chest. The diaphragm is a powerful muscle. How is it that with the trumpet it works better the opposite way? Your lessons are invaluable. Thank you for taking the time to post it on you tube...... Nathan Shasho, Brooklyn, NY
Hi Nathan. I thought I'd replied to this but obviously not!! I suppose the easy answer to this is unless you try, you never know! I really believe in experimenting with different approaches. Be creative with your thinking and if you find something, take it to the extreme, because it's easy to reduce something but not increase it. All my techniques and methods work; not just for me but for the many. I test them and develop them with my students so I'll never put out anything that doesn't have substance and benefit. BUT, I really urge players to take them as general principles or rules and then experiment. If you discover something let me know. I love doing this stuff and we can all learn from each other. Best, TP
Thanks for the video Prof. Mayes. All my teachers taught me to play with the sound but not the sensation, you are the first I saw to really recommend students to check the sensation and it really helps! Do you think the methods are useful to other brass instruments such as trombone?
Yes they would help whatever brass instrument you play. Experiment! TP
Great tips Paul thanks a lot. How can i check my TLR on high registers? Do you recommend doing the same same exercice (C to F#) but in a higher range?
Hi Victor. Checking TLR in the higher register is possible but not straightforward. Better to create and become comfortable with the feeling of TLR and then try to transfer that to your higher notes. You will get some increase in the level of tension as you ascend and it is best to allow this to happen until you are at your desired pitch when you can then try to let go of it or reduce it. I will be going in to more detail in future videos but I hope that helps for now. TP
Hello TP😊
The first time I watched your videos they seemed to får away from my own thinking, but then yoy dicussed about ressonance and that måde a lot of sence now I heard your søn and notised his playing without much effort, as you advocates. Then I saw Alex from Trumpet Brain and he did mention you as a great inspiration and he is sounding really good!
So now... To hold the lips and play relaxed as possible does that not going in directiln of rather small mouthpieces with flat rims combined wiyh more recistance from a shallow cup?
I am looking forward to feel the difference in my playing following your ideas!
Take care.
Erik
Denmark
Long time player 😇
Thanks Erik. I'm so glad you left this comment.
My ideas are different but unless players adopt a "different" approach they will all play in a similar way and have similar issues . . . HIGH NOTES!!
So conventional techniques produce common problems.
The main trouble with "different" is it's not "the same" and therefore human nature makes us feel sceptical and wary about it. That's fine, I understand that.
Listening to me talk and demonstrate my own techniques isn't really going to convince anyone (and shouldn't) that they will work for others. But getting my students to demonstrate proves they work. Not just one student but lots. Students of different ages and abilities: Alex Brain, Lucy Humphris, my son and the 15 or so students in my first TP video. And you will see many others in future videos. Thanks again. TP
@@TheTrumpetProf
Hi on a nice monday😊
Thank you for the rappid answer. Read thrugh my first comment and I do apologize for my spelling... That was too bad but you read it anyway! Thank you.
Resently I had a surgery in my lip, so I do need a way of playing that advocates the most relaxing lips.
Your ideas seems to go in that direction. In addition to that I like the ideas of "the body" plays the trumpet!
A last advice for now... Do you advocate small and flat mouthpieces?
Thinking of less air in the cup an higher resistance also?
Thanks again😊👍
@@erikandreasbonde551 Hi. I believe in playing the smallest mouthpiece you can which produces the very best sound. It is important to create the highest level of resistance away from the mouthpiece. Your mouthpiece will then just add further resistance and give you even more help but start with YOU and what YOU can produce in your most natural state. That's your default. You should never need to totally "rely" on your mouthpiece. Hope that helps. TP
@@TheTrumpetProf
That was a very usefull answer - as you always do! - now I know where to go.
Thanks!
excellent video and tips w/ good explanation indeed! greetings from Brazil!
Thank you for these great video's. I have a question. What do you think about the upstream and downstream embouchure concept? I place my mouthpiece low on my mouth and therefore play with a small surface of the upper lip (upstream). Do you regard this as an obstacle to being able to play high?
Hello Ellen, thanks for the question. I'm not entirely sure what you mean because your explanation crosses a couple of ideas but I'll address both.
Upstream/downstream really refers to the direction of the air stream. If you blow air up your nose you are blowing upstream and if you direct it at your chin you are downstream. So upstream players will have their instruments pointing up because their jaw will jut forward, and downstream players point the instrument down as their jaw is back as with an overbite.
There are plenty of examples of great upstream and downstream players so this causes no obstacle.
You mention placing the mouthpiece low on your upper lip. The border between the white and red area of the lip is called the Vermillion border (great name!) and placing the mouthpiece below the VB is considered to be bad practice. I don't entirely agree it is always bad but in most cases it would be better to place the mouthpiece a little higher. The less top lip mass you have in the mouthpiece the easier it will be to play high BUT it will be more difficult to gain technical control in other areas. If you actively use your facial muscles to predominantly control your playing, a low placement probably isn't such a wise choice. If you have good TLR (top lip relaxed) it is less important. Hope that helps? TP
Very solid and sound advice, with unique perspectives. You pack a lot of content into each video. Some of the onscreen text is tiny--I have to stop rowing to read it. :) Keep 'em coming, Paul. Do you ever attend ITG?
Thank you for such helpfull tips! To stop and take notice of how the body works when playing the instrument. I play the flugelhorn (only 4 months) and can for the most part play clean notes, however, my lower D seem to always sound raspy/hazy. Any tip would be welcome...
It is not uncommon for certain notes to change sound but in your case I would persevere and give it a little more time to develop naturally. If it doesn't, there are things that you can do. TP
Professor,
You mention kick the air as part of the pressure required to ascend and hold similar pressure while descending. Claude Gordon and Jeff Purtle talked about kicking the air. This great information to have but how do you go about kicking the air? Any suggestions would be appreciated ...
Ray G
Hi Ray. When you cough you kick the air. If you huff aggressively you kick the air. Try blowing out a match through a straw! That's what I mean by kicking the air. TP
I wonder if this is similar to Lynn Nicholson's unfurling concept. Regardless, I've never tried the straw exercise before. Seems way more beneficial than clenching a pencil with the lips. I'll be revisiting this video a lot.
Hi paul, those were great tips!
but I'm still struggling a bit to keep my TLR when I have to play longer sequences or in higher registers... I always feel that my face muscles start to tighten up and I have to really force myself to get loose again...
any advice on working on endurance and to have the TLR?
Hi. I'm not saying you can't or shouldn't have contraction in some of the facial muscles. Just not the top lip. This is an issue for many so I'll do a video just on TLR. I think the other thing I can't stress enough is it will take time. At first you need to mentally override the desire to contract the top lip. That means you have to totally isolate that aspect of your playing until you achieve it. Then you need to introduce a simple tune which takes no thought or processing power and maintain the sensation of TLR. It will be several months before you can play challenging or new music without those old sensations returning. It will be worth it though I assure you! TP
Really excellent vid. Subscribed
Very helpful
Thank you for these videos. Do you have any tips on how to keep your lips set for a longer period of time? A lot of the times my saliva gets on my lips as I play, making my lips slide of my ambusher position although my lips and face are not yet worn out.
Hi Deshai, that's not an easy question to answer! Keep wiping them regularly (that's a pretty obvious suggestion and one I'm sure you've considered). Keep the rim of the mouthpiece (that sits on your lips) clean. When it is, it has a bit more "grip" to it. Have you tried mouthpieces made of different materials? Sorry not to be more help. I'll give that more thought! TP
The Trumpet Prof Wow, thanks for noticing my comment! For marching band I use a silver Bach megatone 3c On our cheap King trumpets owned by my college and for my lessons I use a regular Bach 3c however it has a gold plated rim on my Bach trumpet.
@Stuart Bowes Great advice Stuart. Not a problem I've heard before but looking at diet makes sense. To take your suggestion further maybe look at not only avoiding certain food types but introducing certain types that "dry" the mouth. Many players suffer dry mouth (opposite of you and Deshai) and I remember a colleague suggesting that brushing your teeth before a performance will augment the problem. Thanks. TP
Thank you@Stuart Bowes , This comment was very helpful! I will definitely consider this things. Slightly changing my tonguing method may help some. Maybe a way that my tongue is a bit further from the opening of my lips.
@@Shaibutta54 Two factors may be involved: The Megatone will give you different resistance due to the increased metal surrounding the outside part of the cup. Second, gold plating with a wet embouchure tends to slide around for some players. Try using the same silver plated mouthpiece for a period of time, keeping in mind your mouthpiece contact points with your inner embouchure.
As I relax the top lip I feel it is now responsible for the vibratiion while the lower is less so (not absolutely sure about this). Almost as if the top lip is playing the equivalent part of a sax reed while the lower is the surface of a reed mouthpiece it vibrates against. The larger mouthpiece of a trombone, for example certainly feels like both lips are moving equally.
The ratio is often different depending on the way a player sets up. High mpc placement gives less lower lip mass so the upper lip is the dominant vibrating force through most registers. Low mpc placement often means the lower lip dominates the lower register and the upper lip the higher register. For me lower placement is more efficient but it depends on the dental structure and lip size. TP
When you talk about relaxing the top lip, are the corners of your mouth relaxing too? Not sure how I can play if everything is relaxed.
Hello Andrew. The corners can be firm. The lower lip can contract. Just don't let the top lip contract. You won't be able to do it to begin with so don't expect quick results with this. Just aim to let go as much as you can as often as you can and try to let the mouthpiece support the the top lip more. TP
Very Lovely lessons
I was wondering if you knew how these tips would apply with the upper registers of other instruments? I play horn and trumpet and I was just curious if this Would help my horn playing as well?
Yes these techniques will help. They are not necessarily instrument specific they are techniques to allow natural interaction with whatever vibrating system you play. Frequency doesn't care what instrument you have in your hand and these techniques will help you get your lips vibrating faster more efficiently. TP
That's crazy that your son can get those notes after 4/6 weeks - there's people I used to play with who were nowhere near after years and years!
I'm struggling to conceptualise/use your technique with the high resistance and relaxed lip, as I'm so used to playing differently. Does your jaw or tongue move at all when you go through the register??
I now realise my previous technique relied mostly on moving my jaw backwards and tightening my lips to raise the pitch, whereas you seem to be able to do it without moving your mouth at all but instead pushing more air out with your stomach?
Hi Matt. It's all about resistance. There are so many ways to increase resistance and I have touched on a very basic one in this video at 13:50. Yes I am regulating as I go high and low but what "I" am doing probably won't help you which is why I'm not sharing that yet. What am am sharing will work for everyone and allow you to understand in practical terms what I am explaining. TP
Hi Paul. Didn’t know where to put this question, so I’ll just put it here: As I’ve been changing my approach to a more relaxed one (the sighing concept has been revolutionary for me-thank you!), I’m considering a mouthpiece change to the Prana resonance, which is supposed to work in conjunction with a more relaxed setup. I also play on a Shires (Destino III) and wondered if there were any potential issues I should be aware of? I know a mouthpiece doesn’t automatically cause you to play correctly, but I thought it could be an important part of the change. I think you mentioned that it took you a while to adjust to your monette mouthpiece. Did the concepts you teach here help you to adjust to the new mouthpiece? Thanks!
Hi Nick sorry for the delay in my response.
The Prana is THE mouthpiece for me. I owe it far more than I really let on but it is not for anyone looking for a quick fix which clearly you are not.
The concepts I am teaching will definitely allow you to get the most out of the Prana and for the Prana to work its magic for you.
It took 3 months for me to really settle on it. Jason who works at Monette was right on the money when he told me to give it time. The first time I tried it I was devastated because I was expecting things to happen immediately. On paper and in theory it was the perfect fit for me but the upper and lower registers were weak and transparent at that time.
It taught me a valuable lesson and not one I would I could have learned any other way.
Hope that helps. Let me know if you get one and how you get on. TP
The Trumpet Prof. Thanks so much, Paul, for the words of experience. I’m actually awaiting the arrival of the Prana now. Appreciate the advice to not expect too much too soon. Monette talks a lot about center of pitch and I’m wondering how much I’ve unconsciously adjusted my notes previously. We will see. I’ll keep you posted. Thanks again!
The Trumpet Prof Paul, just letting you know I finally got in the monette mouthpieces (you had asked me to let you know). Actually, one I ordered had gotten lost in the mail and so I ordered a second one but now both have showed up: a B6 S1 and one like yours, a B4S S1. Holy cow, I feel like I’m having to learn to play a whole other instrument. So far, I’ve only gotten about 2 notes out that I like, the rest sound thin and strained. But every once in a while, it (Me) loosens up and feels really easy. I have to admit I’m stunned at how tight I must still be playing since I’ve been working for months now to relax my approach. Your story is an encouragement to me, though, so I’m going to dedicate 3 months to it, like you did, and see what happens. Any pointers in these early days of adjusting?
Hi Nick. Make sure you read up on the mouthpiece and the thinking behind it. You've probably done this already but there's plenty of info on Monette's website. I'm a stickler for reading instructions (I think everything should come with instructions including trumpets but that's some way off |I think) but Monette does provide them.
It will be a journey, but your objective here is to let the mouthpiece help you to let go of control. When you put the M in the receiver you are releasing the handbrake on your car! Think of it like learning to ride a bike as a kid. Most have stabilizers attached to get started but once they are removed it takes a while to find balance. When you find balance you relax more and develop the confidence to go faster. That's what I found on my mouthpiece. Give your body time to re balance. My Monette is my most valued possession and I hope it will become yours too. Good luck and keep me posted. TP
Hey Trumpet Prof I just recently started watching your videos because I am a collegiate level musician who has been going through a complete embochure change since about January of this year. At first I was kind of wary of my progress but then I started to notice the positive changes the more I practiced but now I need help with getting back my articulation and my range plus a few other things. I was just wondering if you could make a video on dealing embochure changes and the proper way to redeveloping the skills that are essential to proper trumpet playing technique
hi paul,
first of all, thank you for sharing your wisdom! your videos are really great! obviously you are not only a great trumpet-player, but also a real teacher. thank you for that!
i am trying to play the trumpet for about five month now, and somehow i managed to feel quite sure and save from c' to e", and since some weeks it even sounds good. even the g" from time to time i managed to reach and even make it sound nicely, but at the moment i am a bit frustrated, because since some days i no longer get grip, there is always air in the tone, even on the most simple notes, like for example g', and i hardly reach e". do you have an idea what actually could be the reason for this? but anyway. what i actually wanted to ask: what do you think about practicing with closed front teeth? do u think it can be useful? i am trying this and sometimes with closed, touching front teeth i can produce quite high notes, but i am not able then to transfer them to a normal playing with open teeth.
thank you and best wishes,
gerd
Hi and thank you for kind words. That's a really interesting question you pose regarding practicing with closed front teeth. I think it can be beneficial in setting but not in playing. So, try placing your mouthpiece/trumpet with teeth closed and as you sigh/blow, gradually drop your jaw (either before or after the sound starts). Experiment with how much but try to maintain a higher level of resistance. You want the sigh to feel heavy. Let me know what happens. TP
@@TheTrumpetProf hi paul,
thank you so much for your answers! it feels great to be able to get in touch with a real master, and actually for me ar real master is not only a person who is exeptionally good in what he does, but also someone who wants to pass on his knowledge to interested people and students.
i am now trying what you suggested, for the moment i start with closed teeth and after the sound has started i carefully open the teeth and try to maintain a similar feeling of the embouchure. and so far it seems to work - to the quite high level of resistance there comes more control and more resonance and of course a better sound.
next thing i have to work on: i tend to place my mouthpiece quite low, the upper part of the mouthpiece already hardly gets over the upper limit of my upper lips. like that for me it feels like i have more control and can play higher notes more easily. and the upper lip still can vibrate. but i think i have to stop this, and get more to the middle again with my mouthpiece.
thank you again for your time and for sharing your knowledge, best wishes,
gerd
@@seifenstander508 Hi - great to hear you have had some success with that!
Mouthpiece placement is a very personal thing but my advice is to have the mouthpiece as low as possible but above the vermilion border. You can probably guess what the vermilion border is - the border between white/red. The reason is simple; less mass will vibrate faster. So when you take it off your lips after playing, just be aware of the top of the "circle" and where it is. Keep me posted and good luck! TP
@@TheTrumpetProf
hi! that's an interesting and unexpected answer! As i mentionend, i had already experienced things easier with a quite low mouthpiece, but i always thought somehow, that's cheating, better not do that, better try to keep it in the middle, even though it feels more difficult. My fear was to maybe block the upper lip too much with a too low set mouthpiece, to give it too little space to vibrate. But your explanation about the vibration sounds very reasonable to me, so i will go on with that without a bad conscience. But besides this i will also continue to try to get high notes with a centered set mouthpiece - for practicing reasons. And i think on my stage, as an absolute beginner, it's maybe a good idea too keep experimenting, try different things, practice very variably, to get a better feel of what different setups do. However - it's great fun for me to practice, and the trumpet is an absolutely fascinating intrument. I am so eager to reach some little senses of achievement every day, so practicing never becomes boring.
Thank you again for your time and your commitment! All the best, gerd
I swear "the sigh" is the thing I've been missing this whole time. It's why ive hit a wall for so long if I had been told about that I think I wouldve done better. But I still blame myself for the wall for lack of work ethic.
1st time trying: I can successfully do the C to Bb trill.
Dang.
My most sincere thank you for you good sir! This was a really nice video watch with really well thought out instructions! Please have my "like and subscription" as my humble way of thanking!
9:24 I'm able to descend easily to A or Ab, but when I try the C-G interval my C seems more like a Bb, not to mention the C-F# interval :(
Hi Alessandro, that's quite normal! Keep working on the TLR and Sigh techniques and you will improve. This exercise will allow you to see your development. Thanks. TP
The b flat is an interval for open on trumpet, in the opening he is just doing lip slurs up and you can tell after the g he goes to the b flat before high c
Is the cy with pressure somewhat like a breathe attack on a middle C note ? So cying another way to say breathe attack ? Kind of ?
Yes sort of but it is more about the delivery of the air. Blow out some candles then sigh out some candles. The delivery is different. TP
At 8:48 the intro to Blood, Sweat & Tears tune "You Made Me So Very Happy."
Great band!
Just rewatched this a couple of times and wondered - do you set the tongue in the higher position and keep it there whatever register you play in? So it becomes your normal playing setting? Thanks.
Hi Anthony. In your practice yes. Even if the lower notes don't sound as good, try to play with the tongue "locked" because your other components will rebalance in a positive way. Remember the exercise from the first video, going in on a higher note and dropping down the harmonics? Don't worry about the sound of the lower notes to begin with.
Thanks for the question. It's really important and useful for me to know how everyone is interpreting the instructions. Good luck. TP
The Trumpet Prof - Got it, thanks TP!
hi paul,
normally it's said, that you need to build your mouth- and lip-muscles to be able to resist the air-pressure which comes out of the lunges in order to play higher notes on the trumpet. as far as i understood, your playing is much about air-pressure. how is it possible, that your son after only some weeks of practicing can play quite high notes? are his muscles around the mouth already that much developped, or is it just about some special technique he is using? what i noticed concerning my resistance: when i let my chops blow, when i dont try to hold them narrow, then i get better resistance, without contracting anything. that's as well what you mentioned in your video, that it's allowed to let the chops blow a bit. but probably too much is too much. so i guess i have to find somehow a limit on half way or so. yourr son doesn't let the chops go, does he? and what are you telling him about this? thank you very much for your answer and best wishes,
gerd
Again you make a very good observation and raise an important point. My son has a relaxed top lip and I have built his engine in a way that is unique to him. It is not wise for me to get specific with my video content yet because it wouldn't work for everyone. Everything so far CAN work for everyone but it all takes time. Relaxation is important but so is contraction. I prefer to talk about the muscles that need relaxing (top lip) rather than those which require contraction because again everyone will be different. In general contraction will happen naturally anyway. The only muscle which you need to keep relaxed for now is the top lip! TP
You mention that using the tongue is not your main way of creating resistance (any more). What other way do you create resistance? If you're keeping the lips relaxed (not trying purposefully to make a small aperture size), and the tongue isn't doing it... what other method is there? Most, if not all techniques, I've seen use one or the other. Thanks.
ruclips.net/video/xmAmXpLOuRU/видео.htmlsi=QUViWpVHfsJ79XWS
Your boy did very well
heres his channel ruclips.net/channel/UCZWBfoERwqf5dQutc7GX1pwvideos
THANKS
do you put the tip of the tongue behind the front lower teeth or do you let the tongue tip float ?
when you set the tongue position I mean towards the end of the video thanks
Hi Hans. I don't "put" the tip of the tongue anywhere. I let it go where it wants to go. We mustn't try to control everything, only certain areas of our technique and certain components.
When I set my high tongue position using the whisper technique the tip of my tongue naturally falls behind my front lower teeth.
When I set it using the cheek tapping technique it floats.
Both techniques set the tongue high but set other areas differently. It is not important to set the tip of the tongue only that it acts sympathetically and indirectly. TP
@@TheTrumpetProf my tongue floats in both positions but I have always been told that the tongue tip should be behind the lower teeth. I can get high notes when the tongue floats but not when i force it behind the bottom teeth. Thanks for your input.
I can trill down to the F#, cool... Also, I am starting to land, on the drop and land...
Do you have any tips for stamina
Yes plenty, but I'll make them in a video! There are two main ways to improve stamina:
1. Fatigue or exhaust the muscles then rest and repeat the process
2. Change something physically
Most players will at some point try the first option which is likely to bring some progress but is not an efficient approach. This "type" of player will lose range when tired.
A highly efficient technique will still become tired in feel at some point but won't lose range as a result.
All the things I have shared in my videos so far will help improve stamina because they are the building blocks to playing more efficiently. It's no different to any other physical discipline which requires you to generate power. It's a balance between relaxation and strength. Technique will take you closer to efficiency. Hope that helps. TP
the straw things
things i did for fun at a restaurant basically
like wayy before this video lol
Thanks 🙏
I don’t quite understand how the soft lip exercise works it’s way into normal playing.
How is lip stamina developed ---Snowy
Hi Arthur. Lip stamina is developed more through relaxation than increasing strength. When you suddenly blow faster what happens? If the note gets louder try to experiment with your lip and tongue settings until the note goes high; even by just one harmonic step. If you are primarily using your lips to change pitch, your stamina will not increase as quickly or efficiently as using a different approach. Good luck. TP
I dont know if youre still active but what is resistance?
Blow some air at your hand and slowly close your lips until they are shut. You will feel the air pressure build because you are gradually increasing your resistance to the air. TP
@@TheTrumpetProf So you're saying that resistance is aperture size?
@@AndrewPinke Yes it is but most think of the "aperture" as the lips. You can form an aperture other ways like raising your tongue toward the roof of your mouth or gradually closing your throat etc, I'm not telling anyone to specifically do any of those; all I'm saying is create resistance somewhere preferably in a way that allows the top lip to remain relaxed. Hope that helps. TP
Sir...
I am playing trumpet 27 years...now i am playing...but i cant play high notes...my lips getting tired fast....i know my playing style and position not correct....can u plz help me....
My advice is in the videos. But you have to LISTEN TO EVERY WORD.
You won't play high unless you have resistance and create air pressure.
Make sure your lips have enough space between them so they don't buzz freely without the trumpet. TP
Resistance does NOT create pressure. ONLY the action of exhalation creates pressure. See the videos on my channel for the ACTUAL application of air mechanics to playing.
Does that mean that people who have a tenor voice can play high notes on the trumpet more easily than a person who has a bass voice?
No. Anyone can play high notes if they find the right way.
How do I have access to your Facebook page or WhatsApp sir
Sorry for the delay. Search for the Trumpet prof on facebook and you'll find me.
Well, that kids gonna rip the shit outta trumpet 🤘🤘
You look like John Oliver 😂
Ad5
Hilarious!!
@@GeraldAlpinePerry Effective.
I cant do high notes at all and im stressing out cause i never get these videos and im thinking about quiting cause i can never do this
This might help
ruclips.net/video/xmAmXpLOuRU/видео.htmlsi=QUViWpVHfsJ79XWS
حرمات لو عربي
"Throw away the rule book" *proceeds to talk about proper technique learned in all the "rulebooks"
Wack.
At 10:56 deactivation may be the hardest concept to visualize.