Better High Note Efficiency! | "V for Volume" | Trumpet A-Z, S01E22
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- Опубликовано: 29 дек 2024
- In this episode of Trumpet A-Z, "V for Volume", Bryan Davis continues his exploration of the 3 Compressions. He explains how to separate air volume and airspeed, so you can play more efficiently in any register and demonstrates how you can practice the "flexando" exercises from "F for Falsetto" and "U for Upper Register" to make them easier on the embouchure!
Recap the following videos, referenced herein:
• A for Air - • Play Trumpet More Effi...
• F for Falsetto - • Play Higher More Easil...
• T for Three - • What are the 3 Compres...
• U for Upper Register - • How I Play High Notes!...
Catch up on the entire #TrumpetAtoZ series, so far, at: • Trumpet A-Z with Bryan... . New episodes are added every Friday.
If you have questions or comments about this video, we want to hear them! We're particularly interested to know what topics are in your Trumpet A-Z? Please comment a full or partial list below - your suggestion could be the topic of a future video!
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Hope you’re digging the videos! All questions and comments welcome, as ever - just remember this a family show... 🎺😉
Hi Bryan, I know this video is 4 years old, but I wanted to say that the aperture changes automatically from how much air is being put through, so when people say to Physically do aperture control, some people think of doing it manually causing them to pinch, but instead, as you said, practicing quiet then loud automatically has the lips use Aperture control in that motion.
I hope this May help clarify or help others in what aperture control means.
@@IsaiahSMC It's closer to 5 years old, I believe... In any event, I agree with your observation about the aperture, and I believe I said the same in this very video. (If not in this one, then I certainly have in plenty of others...)
Brian, what you're saying regarding the physics are spot on! Well done!!
Thanks Jon. I appreciate you taking the time to check out the video!
You bet Brian, what you say has been my approach for years. Great job and keep up the vids!!!
Right on the money yet again Bryan, great advice as always...
Thanks Jan.
Thanks for these videos, I've ended up watching them every day. Regards Brian
Glad you’ve been enjoying them. Thanks for checking them out.
@@AirflowMusicNYC yes, I e even got used to the music at the beginning which makes me jump out of my skin every time I watch a video. ;)
Love these videos Brian
Thank you, and thanks for watching!
I love you Brian!! 🎺🎺🎺🎺
Well, aren’t you sweet! ☺️
This is counter to most of the exercises in the Clarke book, where there are usually crescendo markings when ascending. Could you comment on this difference in philosophy?
I work on the principle that the crescendo when ascending is inherent, if consistent breath support is in place. We tend to overdo it, which sets us up to fight the instrument rather than giving it what it needs to respond efficiently. Very few of us actually play Clarke studies softly enough in the first place.
Bryan Davis - Airflow Music Thanks! Do you think the dynamics should be reversed for Clarke studies such as the 1st exercise? Or would you say they have a different purpose? There's not much explanation in the book.
They’re still valid as marked, but I would say to make sure to follow ALL the dynamics and not over exaggerate the crescendo/decrescendos. To my mind, the goal of the first few Clarke Technical Studies is to develop soft response and connectivity over the whole range.
Once that is achieved, there are potentially other benefits to be gained from reversing the dynamics while maintaining breath support, but it’s not my initial approach.
Hi brian... How can i get rid of split tones?any exercises you can suggest? Thanks in advance...
Do you mean fracking/splitting notes on the articulation, or are you experiencing a double buzz?
Any particular register where it occurs?
Hi Brian it's actually a double buzzing and it just occurs weirdly on my middle range.. It's my same lip position for long time and i think i got this from practicing(forcing) too much of high notes though i get it but not so consistently... Now i don't know how to fix this... Any recommended exercise? Thanks again Brian...
Sorry for the delayed response - busy couple of days! Is there a specific range it happens in, i.e. always between the same notes in the middle register?
Generally, a double buzz is caused by excess lip tension. If your lows are good and your high range is too, then you've probably developed a low chop set and a different high set. The middle is where it crosses over so it gets out of whack and overtenses. What happens if you play a chromatic scale from low F# up to the top of your range and back? Do your registers connect easily?
Bryan Davis - Airflow Music hi brian.. When i go up high it's easier notes connect easily but when i go back down it is not that easy specially middle C to Low F#...
I'm utilizing a quieter dynamic level in my practice now and it's helping. My question is how to keep the same feel in air volume and chops when you add sound volume? I'm stuck at this step mentally as I want to have the sound of you or Wayne but I'm supposed to program quiet high air speed.
For extra volume, just add a little more air. If you’re relying more on core compression than aperture, then your lips should be able to adjust to a slightly larger airstream - to open up a little as necessary.
Hello Bryan, I am currently working on the start of the Arutunian Concerto and I'm stuggling a bit with start. I find that I can play the up to the Bb from about 9 bars before but when I try to play the whole introduction the Bb often doesn't speak. I've tried practising it softer and trying to build back from it as appose to working to it, but after a couple of months I'm still finding it tricky. Do you have any suggestions?
Best wishes.
Hi Dan. I don’t remember the Arutunian off the top of my head. I’m in the studio all day today - I’ll refresh myself on it when I’m home tomorrow and get back to you then.
Hi Bryan, Great videos! I'm Doing these exercises in my practice room and it's coming along nicely. But when I'm doing gigs, I end up going back to my old habits of playing. Any suggestion Bryan?
Hi Dillon. Developing new habits takes time - scientists maintain at least 30 days, to be precise. Keep working on it. In particular, I recommend you focus on how it feels to play more efficiently. Try and lean on that feel on the bandstand.
Thanks Bryan