lynn nicholson

Jerry Freedman · Posted: Sat May 23, 2015 11:57 am Post subject:

I have been trying it ( sometimes using my wedding ring BTW). I haven't got a significant enough range on the rimpet to notice anything on the horn although my wedding ring rimpet range is improving daily. I play off to the side a bit due to a large cupids bow and I tend to move the horn around a bit in a sort of pivot when I play, sort like flag waving. One I started placing the rimpet where my aperture should be and emulating the pivot/arc with the rimpet things went better. The video made me more conscious of my air and in my regular playing I am using more air and less chops to move around.

ljazztrm · Posted: Tue May 26, 2015 6:58 am Post subject:

I have been wanting to write in. I got to the point maybe a couple of weeks ago where I could play the rim with a very loud, fat sound up in the double C register. The problem was I was having trouble translating it to the horn. Being familiar with Pops teaching, I saw similarities between Lynn’s protocol and Pops’ teaching about tensionless playing and air support. I am now having very good results doing one of Pops’ exercises in his books involving what he calls ‘air kicks’ and Lynn’s same teaching in the video where he describes what happens with the abs and how to do octave slurs. At that point of the video, I realized Lynn was demonstrating in detail what Pops had written about and talked about in his videos. Lynn explains everything so well in the video I really feel like my whole playing mechanism is, more and more, functioning in the MF way all over the horn with greater resonance and much greater ease. Now I am seeing why MF, according to Lynn’s account, could take 2-4 weeks off the horn when they were off the road and come back for a sound check and sound great. Amazing - The video really needs repeated watching to absorb everything I find…I have been watching the videos in Pops’ ‘4 octave keys’ video book and Lynn’s video both and putting everything together this way.

Using the MF style mouthpiece makes a lot of sense with this approach for sure as I feel it maximizes a lot how we can use our abdominal area much more to control things in our playing. Lynn goes into very good detail about this in the video. And, as he has described I think on one of these TH posts and, of course much more in his teaching, how the v cup supports the unfurled chops.

I am still trying to figure out what the ‘shift’ is Lynn talks about - I am not experiencing a shift going above high C (unless I consciously reset and do that) and I don’t even know how I would manage to navigate a ‘shift to unfurled’ (my term) while playing all over the horn - What I am saying is, right now, I feel like I would much rather have the feel I currently have in my chops where the air is more in control and one embouchure is working for everything. Maybe I will have more insights on this as I continue though.

I HIGHLY recommend anyone using Lynn’s protocol or Pops’ teachings to get BOTH. Lynn and/or Pops may disagree - or may not even be familiar with each other’s approach - but I feel they go together extremely well. Best, Lex
_________________
Mpcs: Jim New-Manley Jazz1/Jazz2/Jazz4/Lead3. Legends MF1. Reeves 39EX/HV. Frost 39MVD. Flugel: Jim NewMF3. Jim New-Manley F1+F2. Pickett MF. Reeves HF.
Trumpets: THE LYNNZHORN!!/Stomvi Forte pocket
Flugel: Manchester Brass Pro Model
Www.LexSamu.com

ljazztrm · Posted: Tue May 26, 2015 10:29 am Post subject:

Also wanted to mention I see parallels for me with playing on the rim the way Lynn describes and pops loose pedal buzzing. I can only do the high rim playing 2 or 3 min several times a day or less if I am heavy playing. I can buzz in the pedaal range a lot as its no impact and I feel it is enforcing the same feel that Lynn talks about with the rim and playing in general.
_________________
Mpcs: Jim New-Manley Jazz1/Jazz2/Jazz4/Lead3. Legends MF1. Reeves 39EX/HV. Frost 39MVD. Flugel: Jim NewMF3. Jim New-Manley F1+F2. Pickett MF. Reeves HF.
Trumpets: THE LYNNZHORN!!/Stomvi Forte pocket
Flugel: Manchester Brass Pro Model
Www.LexSamu.com

MF Fan · Posted: Tue May 26, 2015 10:54 am Post subject:

I’m of the camp that says you should explore alternate approaches, take what works for you and leave the rest behind. I viewed the video, and am working with the protocol. IMO there are a number of basic principles in Lynn’s approach that will improve anyone’s playing, in and out of the upper register. I fabricated my own standalone rim and purchased a small V-cup per his instructions. BTW, I bought the Patrick MF 1, which is based on MF’s 50’s Calicchio. I wish I had come across this mouthpiece in my formative years as a player. Once you learn to play on it, it makes everything much easier.

But I digress…. Here’s how I’ve experienced the protocol.

Quick background to put my experience into perspective: I haven’t played on a regular basis since college, which was 30+ years ago. I just recently picked up the horn and started doodling with it this past year in order to play duets with a budding 11 year old clarinet player. I have been playing maybe 90 minutes a week between duets and trying to learn a few of the simpler Chet Baker solos. I could do chromatics up to a high C or D, but couldn’t play them in the context of a tune.

The protocol appears simplistic on the surface, but you quickly learn that the different components create an unexpected synergy. Lynn keeps it simple in how it’s explained, to avoid people over thinking it I suppose, but there’s stuff going on here that isn’t obvious to begin with. The rimpet: As Lynn says in the preview, “you need to vibrate all the way across the rim.” While that sounds like a focus on the chops, I find it really encourages more effective breathing. With no resistance to blow against, you find yourself taking a much deeper breath, and naturally creating much more compression in order to play across registers. In some ways I think that’s the foundation of the whole thing. The chop shift: Once explained it’s obvious to see that’s what MF was doing, which you can clearly see in many photos of his playing in the upper register. The v-cup mouthpiece: Like I said, it’s part of the synergy, and helps encourage the optimal chop setting in order to play the thing. For me, the components add up to 40% rimpet, 40% embouchure shift, 20% mouthpiece in terms of what drives the benefit, but I imagine this may vary by individual. You really do need all three in the right proportions to get the full effect.

I’ve been at it for about 6 weeks now. For me, I can honestly say I have regained a third to fourth in range I lost over the preceding 30 years, and it did happen almost spontaneously, in about one week’s time. I went from an iffy high C/D, to a roaring high F that’s as fat as my middle register, and at significantly greater volume, i.e. FF. I can’t say it’s incorporated seamlessly into my overall playing, but everything above the staff is fatter and louder than it ever was. As a side benefit, the approach actually led me to have a much fatter sound in all register. Playing below a high C has just gotten much easier, and I have a much more open sound.

I’m not playing publicly at this point, and am still on the horn maybe only a couple hours a week (20-30 minutes per day). I’ve yet to uncork the extreme upper register like Lynn does in his videos, but it clearly feels like there’s more range to be had, I just need to further develop my compression via the rimpet, and continue experimenting with the embouchure shift.

Compared to all the method books I’ve acquired over the years, this was undoubtedly the biggest bang for the buck I’ve found in terms of immediate benefits to my playing.
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shakuhachi · Veteran Member Joined: 17 Dec 2012 Posts: 195

RussellDDixon · Posted: Tue Jun 09, 2015 8:11 am Post subject:

Having played the trumpet for 44 years, I find myself longing for more practice time; however, settling for maybe three to four hours per week due to other priorities in life such as Family and Job. Having thoroughly watched Lynn's teaching video and absorbing everything that I could (including taking copious notes while viewing) ... I have managed to add a third to my range with very limited practice time.

I obtained a Lynn Nicholson Monette Prana mouthpiece ( I have played Monette Pranas for the past 15 years now) and one thing I have realized is that I naturally play much much better on a straight V-Cup mouthpiece whether it be the Nicholson Monette Prana or a Claude Gordon Personal which I also have.

I have ALWAYS believed in trying different approaches, horns, mouthpieces, practicing methods etc. and this willingness to at least try different things has landed me with my best set up ever in my Nicholson Monette Prana and my Miyashiro Custom Yamaha Bb Trumpet.

Lynn's video is well worth the money (IMHO) as you are getting a master class from arguably the strongest high note player on the planet. Roger Ingram is quoted as stating that Lynn has the loudest double C he has ever heard. (By the way, Roger is selling exact duplicates of Maynard's mouthpiece from the 50's (60's?) that the Nicholson Prana is also taken from (a copy to a copy). I will have an Ingram piece when I can swing the cash.

From just viewing Lynn, Maynard, Roger, Bobby Shew etc. on YouTube (thank God for YouTube) I have learned so much. I have noticed that I can increase my air compression ever so slightly by slightly raising my shoulders as I ascend. I have never played with a lot of pressure and have never had any mark or bruise etc. on my chops.

Having had my first ever private trumpet lesson at age 53, I am a self taught player who played first chair all through high school and played Lead in the college jazz ensemble; although not a music major. Thus, I have naturally learned many nuances of the trumpet on my own.

My mouthpiece experimentation of 44 years has now ended with the Nicholson Monette Prana and the Claude Gordon Personal. I also have a gold plated Mt. Vernon bach 7C that I own and tinker with.

If you have not seen Lynn's videos of his playing on YouTube ... you are missing a real treat !!!
_________________
Schilke X3 Bb trumpet
Yamaha 631g Flugelhorn
Nicholson Monette Prana Resonance LT mouthpiece
Kanstul Claude Gordon Personal mouthpiece

crzytptman · Posted: Tue Jun 09, 2015 9:17 am Post subject:

Hey Russel, after reading what Lex wrote I was wondering about the CGP. Can you exercise the "protocol" with this mpc? When I played it for a couple of years, I did experience the pucker and increased range. This is very interesting.
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RussellDDixon · Posted: Tue Jun 09, 2015 9:47 am Post subject:

Nate ... I don't; however, I suppose it can be done. I consider the Claude Gordon Personal to be a "toilet bowl" mouthpiece for me. I utilize the Nicholson Monette Prana for 98% of my playing and practice as I don't hit it near as much as I use to.
_________________
Schilke X3 Bb trumpet
Yamaha 631g Flugelhorn
Nicholson Monette Prana Resonance LT mouthpiece
Kanstul Claude Gordon Personal mouthpiece

Mike Sailors · Posted: Tue Jun 09, 2015 11:58 am Post subject:

crzytptman · Posted: Tue Jun 09, 2015 1:00 pm Post subject:

Yeah, Mike. I don't want to de-rail this great thread, but to relate to it somewhat my skeleton mpc is a Bach 1. When I play on that infinite cup, then go back to my regular piece everything is really groovy as well. Often after a taxing gig I will play on it in the car on the way home, just to bring things back together for tomorrow.
_________________
Crazy Nate - Fine Yet Mellow Fellow
"so full of it I don't know where to start"
Horn: "just mismatched Kanstul spare parts"
- TH member and advertiser (name withheld)

Mike Sailors · Posted: Tue Jun 09, 2015 1:05 pm Post subject:

I haven't gotten on the skeleton mouthpiece train yet. Definitely going to give it a shot.
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crzytptman · Posted: Tue Jun 09, 2015 4:29 pm Post subject:

Don't turn your back when you're on the skeleton train . . . ooohh ooohh ooohh . . .
_________________
Crazy Nate - Fine Yet Mellow Fellow
"so full of it I don't know where to start"
Horn: "just mismatched Kanstul spare parts"
- TH member and advertiser (name withheld)

unclewawa · Posted: Sat Jun 13, 2015 11:27 am Post subject: Re: Lynn

lynn9544 · Regular Member Joined: 05 Mar 2015 Posts: 88

RussellDDixon · Posted: Sat Jun 13, 2015 3:03 pm Post subject:

I have found going from a larger diameter bowl shaped cup to a small diameter V-Cup has helped my playing tremendously. Today, I played Claude Gordon's Lesson 1 holding each whole note for 16 - 24 beats from a pedal C up to a double Bb. Just playing lesson 1 for a while and then improvisation on my flugelhorn.
_________________
Schilke X3 Bb trumpet
Yamaha 631g Flugelhorn
Nicholson Monette Prana Resonance LT mouthpiece
Kanstul Claude Gordon Personal mouthpiece

unclewawa · Posted: Tue Jun 23, 2015 10:51 am Post subject:

Lynn,

I know that you do not discuss the 'pencil exercise' on your video, but I had started implementing it a few weeks before renting it from you. The 'pencil exercise' strengthens the embouchure, but you recommend a loose, flexible embouchure. Therefore, do you suggest that I eliminate the 'pencil exercise altogether? Seems like I am having trouble 'relaxing' my chops.
What is your protocol re: the 'pencil exercise - yes or no?
Thanks.

Pops · Posted: Tue Jun 23, 2015 12:54 pm Post subject:

I will let Lynn answer but I will give a basic observation.

Different ways to play the trumpet require us to have a different focus and use muscles in different ways. In some embouchures we curl. In some we pucker. (Opposite actions using the same muscles (lips).

Different makes of cars have within reason the same basic types of parts but using a VW part on a Ferrari motor isn't going to give you the type of performance that you would normally expect from the Ferrari engine.

You shouldn't ever TRY an embouchure technique. You need to dive in and immerse yourself for it to have a real chance.
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50 years Teaching. Teaching and writing trumpet books is ALL I do.
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bach_again · Posted: Tue Jun 23, 2015 1:12 pm Post subject: Re: Lynn

lynn9544 · Regular Member Joined: 05 Mar 2015 Posts: 88