Swollen, Stiff Chops

[bluesman13]

I've been playing trumpet for about five years. In the past year I've gotten more serious about it, especially with jazz. In addition to practicing w/jazz band in school, I would practice about 1 hour per night. I noticed a small drop in range, and some frustration with endurance, but I just kept practicing. In the past month, these problems got worse. I had started practicing about 2hrs. a day, but spreading it out. About 2 weeks ago, I put the tpt on my mouth and it felt really strange, like the mouthpiece was thick. My chops felt swollen and stiff, but not actually painful. I've been pretty much laying off for the past two weeks, but I don't think they've gotten any better. One teacher said I might have been using too much pressure and playing too much. If anybody knows about these kind of problems, it would be great if you could help me!
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"I don't care much about music. What I like is sounds."
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[Dan Gosling]

I was recently asked to write an article on chop maintenance for another website. While this makes for a long response, your question raises a lot of common issues that just about every serious trumpet player has had to deal with and exactly the sort of thing I was asked to write about. So, I beg all of your indulgence and give you:

Brass Players - Think Like an Athlete and Ride the Wave to Success

Some ideas for proper lip care and maintenance from Dan Gosling, the ChopSaver Guy


As a professional trumpet player for 25 years and as the creator of ChopSaver lip balm http://www.chopsaver.com , I feel I am uniquely qualified to write about good, common-sense lip care. Through both my studies on the trumpet and in my consultations with other experts during the creation of the product, I have learned a great deal about the lips and lip maintenance. Much of what I have learned came through simple trial and error. My hope is to help you avoid some of those errors.

For starters, let’s take a crash course in anatomy. Our lips and the muscles that make up our embouchure are a complex arrangement of muscle and tissue. The skin covering our lips is much thinner than the skin covering the rest of our body – which is why your lips are red and very sensitive. It’s also why they’re capable of creating beautiful sounds when buzzed properly.

In the same way you don’t need to be a mechanic to drive a car, you don’t need to know a lot more about how the lips function in order to play well. But knowing how to care for your lips and avoid accidents can help you play longer and with less discomfort. After all, “lip care” isn’t something you should think about only after you play or when you have a problem, any more than auto maintenance is something you should think about only after a long trip or a crash.

Be a Musical Athlete

A successful athlete is keenly aware of everything he does, from eating well and getting enough rest to following a training regimen that builds without destroying muscle tissue. As brass players, we should think of our lips, embouchure and body in the same way. For our purposes, let’s use a long distance runner (an athlete that focuses on endurance and efficiency as opposed to brute strength) as our model.

Taking care of your lips should include good practice and playing habits. Basic concepts like good posture and always taking a full, relaxed breath are important, but easy to forget. Think of your lips as sails on a boat – they both work better with a nice, full supply of wind.

While we certainly can't expect our lips and embouchure to get stronger by babying them, they can be severely damaged by overuse and abuse. Forgot the old mantra of “No pain, No gain.” Today’s athletes alternate their workouts in a pattern of “Stress” followed by “Recovery.” If we don’t include Recovery (or adequate resting) in any sort of physical activity, our bodies will force us to rest by breaking down. Pain and discomfort are how our body talks to us and a smart musician/athlete learns to listens.

Generally speaking, muscles swell up when used, and the lips are no exception. However, there is a difference between being “a little sore and puffy” and sharp pain. If you are a little sore and fatigued after playing, your body is saying, “You should stop soon and take it easy during your next practice session.” True pain means “Stop immediately and step away from the horn as soon as possible!”

How to Create More Good Days

Here is another way to illustrate the Stress/Recovery concept. Let’s say you’ve had a really good day. Maybe you've finally nailed the high lick in a piece you've been working on. The temptation is to do it many times just to make sure you’ve got it and, after all, it’s fun. But you need to resist that temptation. Play the lick a few times, but DO NOT pound on it over and over.

Why? Because, to achieve that new plateau, you have just experienced a peak moment (Stress), and peak moments should always be followed by a valley (Recovery). That’s the way your body works. So, you can either fight Mother Nature or work with her. (She always wins, by the way.) Have the discipline to take it a little easy the next day. And then the following day, your patience will be rewarded by being fresh AND strong and having an even better day. Trust me on this. If I had understood this concept as a young player, I would have avoided a LOT of frustration.

Think about that distance runner. He considers the stress/recovery model as a process of creating waves and learning how to ride them to success. He’ll taper off his training before a big event, essentially creating a wave in reverse (Recovery before Stress). You can do this, too: If you have a hard performance on a Saturday (Stress), plan ahead by tapering off a bit the days leading up to it (Recovery). You’ll generate a wave or peak when you really need to be at your best. Remember: Range and power come from efficiency, not brute strength. Efficient chops feel responsive and fresh, not sore and beat up.

People often say, “Rest as much as you play.” This is generally good advice, but it doesn’t necessarily mean play an hour, rest an hour, play an hour, rest an hour all day long. Here’s how I interpret that advice: Let’s say you have an hour to practice. Warm up (flap your lips, maybe buzz on the mouthpiece and play a few scales or a simple tune you like) for 5 minutes. Then rest for at least 2 or 3 minutes. Then work on some fundamentals like scales and lip slurs for 10 minutes or so. Rest for 10 minutes. Finally, spend a good 30 minutes working on the music you currently are learning (school music, a solo or etudes). But be sure to take the horn off the chops every now and then during those 30 minutes.

You can even set a timer to help you maintain your discipline. If you only have one hour a day, then you can rest until the next day knowing you have used your time well. If you are really trying to build some strength and endurance, try to establish two practice sessions seven to eight hours apart.

Now that you have some practice discipline established, I urge you again to apply the Stress/Recovery model. A “hard” day or practice session ideally should be followed by a lighter one. Here is where you have to become your own best coach. Keep in mind that what is “hard” for one person might be very “easy” for another. Don’t compare yourself to your peers, just stay on your own path to success and you’ll be fine. Everyone develops at different rates.

Help in an Emergency

Of course, life doesn’t always unfold this neatly and sometimes we over-do, for a variety of reasons. In those cases, use the same therapeutic techniques that athletic trainers prescribe for abused muscle tissue such as alternating cold (to reduce swelling) and heat (to promote blood flow). An ice cube can be applied much in the same way you would suck on a Popsicle. For heat, soak a wash cloth in warm water and gently press on to your lips and face. Just a few minutes at a time with either procedure is adequate and will stimulate healing. Also, use your hands and fingers to massage the face and lip muscles (yes, ChopSaver does work well for this!), keeping in mind that an embouchure is formed with the muscles of the jaw, chin, cheeks and neck, not just the lips and corners.

This is especially helpful if you are playing outdoors in cold weather. Very soft playing at the end of a practice session is a great way to bring overblown chops back into focus, just like slow jogging helps an athlete cool down after a workout. In extreme cases, an anti-inflammatory such as aspirin or ibuprofen can be used. Always follow label instructions when using any sort of medication, even something as common as aspirin.

Hopefully, these tips will help you create a disciplined, goal-oriented approach to your practice and help you spend more time making great music and less time complaining about sore, tired chops.

Thanks for reading. I hope this helps!

Best,

Dan
The ChopSaver Guy

[Paul Tomashefsky]

Dear Bluesman13,
I have been playing Trumpet since 1970 and teaching since 1983. Although I don't or would not consider myself an "embouchure expert" I have in the past, experienced "bruised" or "swollen" chops myself and have had students go through the same. Since It's probably not a good thing to "prescribe" medicine to a patient without actually seeing them first, I would hesitate to try and diagnose your personal situation sight unseen. However, that said, You may be experiencing one or all of the following:

1). You may be allergic to the metal on your mouthpiece (check for rash, swelling bumps etc. . .)

2.) You may have injured your lip(s) shaving, / acne break out that was not healed prior to your beginning the extended practice regimen, or an ingrown facial hair that has become infected.

3.) You may indeed be using too excessive an amount of pressure while playing

4.) Your facial muscles and chops may just be extremely tired from this NEW physical demand on your embouchure.

suggestions:

See an experienced Trumpet teacher in the area, ask them if they have dealt with this specific situation (BEFORE scheduling and paying for the lesson)

Use a very soft / very low register warm up (i.e.) Jimmy Stamp / Bill Adams pedal exercises.

Lip Bending exercises have always workd for me when my chops (lip aperature) felt blown apart from excessive / loud playing. (very softly start on a middle G and bend to an F# and back to the G then slur to an F# do this G - F# - G lip bend and continue slurring down chromatically F#, F, E, Eb, D etc to low F# this will help focus your chops. I actually took a lesson with Laurie Frinkin NYC when I was having some endurance issues from teaching ALL day in a public school setting then coming home and teaching for another several hours at home. . . .

REST is always a good thing. I play in several different musical settings (i.e) Brass Quintet / R&B Rock band and free-lance Trumpet & Organ wedding stuff, and almost always come to a point (if I'm very busy gigging) where my chops can feel like raw hamburger meat. By warming down after a practice session (pedals etc. . .) you are physically preparing yourself for the next days practice /playing. I am playing lead in a college production of A Chorus Lineand have felt a little stiff (chop wise) this week. . . .The most important thing is NEVER Play when you are experiencing ANY feeling of Pain, as your body is giving you a clear indication that something is WRONG. Always try and rest as much as you play, and when you are playing, get the mouthpiece off the chops as often as possible. . .

Good Luck

Paul T.
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[mcgovnor]

Practice from the Schlossberg book.
Start on the first page of long tones. Play as written, resting after each note, as long as the note.

Play about an hours worth, that is, including rests.

Rest an hour.

Play Clarke #1, as written, 4 repeats each, resting twice as long as u play between each exercise. Play mp-mf. Extend a little higher each few days.

Rest an hour.

Play Arbans, beginning on page 13, # 11. Practice two measures at a time, 2 times each two measures. Do this for 15 minutes. Then begin playing 4-8 measures at a time, for 10-15 minutes.
Try to play entire exercises next, for 15 minutes.

Rest an hour.
Practice Clarke #2, single tongue, staccato, 3 repeats, resting twice as long as you play. Extend the exercise.
Make sure your mouthpiece inner rim is set above the red of your top lip. If it is not, place it high enough so that it is. The first week or two will be hellish, then it will be better.

This has worked wonders for myself, when I've trashed myself playing hundreds of double c's in a day on a new mouthpiece, or worked 12 hours a day for two weeks, 6 hours at night and recording all day, plus warming up, or had dental work that altered the entire playing surface and size of my teeth.
Resting more then 24 hours has NEVER helped, in this case.

AFA the barrage of well this or that's, I've just posted what has been of benefit to myself and my students. I've posted to help the OP, only.
I hope what has helped me will help you.

[Grant Gilbert]

What seems to be helping me, especially when I'm doing a lot of playing, is to pedal buzz with the lips only. It helps me warmup, warm down, and helps in between songs or during songs at a rehearsal or gig. You may want to be discreet and do it as quietly as you can when it's not real quiet, so that you don't distract others.
I've worn my lip down a lot trying horns and backbores for my mouthpiece, and thought that I'd be in a mess the next day. But by finishing with the lip pedals and starting with them the next time, I was very surprised that my embrochure did very good. Here is the way that Pop's shows it on some of his posts:
http://www.trumpetcollege.com/video/buzzing.wmv

[mcgovnor]

will help..it's circulation..try learning yoga breathing.half hour of that will almost raise the dead

[Grant Gilbert]

Another thing is trying different equipment to find the most comfort. Ken at Warburton is extremely good to talk to. 1-800-638-1950. He has lots of experience and can help give you ideas. He has good equipment to sell, but he will only recommend what's best for you, not just something to make a sale. He could even recommend something he doesn't sell. He is just extremely helpful.

[razeontherock]

OP, man that's some great stuff from mcgovnor. Not that it replaces lessons, but ... And I agree, laying off is the wrong direction.

I'm sure Dan's info is great too. The point is, hang in there! Doing it right you can be getting 4 - 8 hours a day in over the summer, and fare much better through this coming school year for it. Don't forget to have fun with it! Once your chops feel good again, remember this experience and discipline yourself to put the horn DOWN while your chops still feel good. 2 - 5 minutes later you can pick it up again. Wish I would've done that in HS!!! You'll vastly increase practice time, and develop your embouchure instead of tear it down. You can use the time to study theory, practice piano, learn tunes, sing improv along to recordings, etc. This aspect of practice can be as valuable as face time.

[Al Innella]

You just over played your chops, played too hard too long, practice soft long-tones ,lip-slurs, scales, and anything else you want, as long as it is done softly, and rest as long as you play , if you work on something for 5 minutes then rest for 5 minutes use as little pressure as possible, the mouthpiece should barely touch you embouchure, it shouldn't take too many days before your ready for anything you have to play.

[R.A.S.]

As a high school student, you should actually have more time to practice than us old guys who have to work. My advice is to get as much of your practicing done as early in the day as possible. Get up early to warm up and practice at least a medium-sized session...a long session is even better. This is when your lips are the most healed-up. If you are really shooting for 2 hours, then try to do 90 minutes before you go to school in the morning. Adjust your sleep pattern. It's worth it. I did 3 hours my senior year, and see it as a good and productive year. I was able to be 2nd chair in our All-State Orchestra, and 3rd chir in the Bicentenial National Honor Band that played at the Kennedy Center. All that to say that I never really beat my chops that year even with practicing more.
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[lpennel]

Try this routine of of TPIN, it really works for me:

http://abel.hive.no/trumpet/clarke/tech/bolvin/

Make sure you play it really soft with a lot of air support (Small and narrow/fast air stream). I h ope this helps and good luck.

Larry
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[R.A.S.]

Another excellent book for keeping in great shape is Quinque's "Method". The publisher used to be BMI. Hope it's still out there in print. If not, and you seek permission to copy mine, I'll be glad to copy from mine for you. I have a certain set of exercises that I like to use every day. I just finished the first set on my biggest mouthpiece. It took 17 minutes, and has me warmed up to top-of-the-staff G. Later (using my midrange cup) I'll do more exercises to take my range to high C. Finally, using my lead mouthpiece, I'll finish off with some exercises from this book that challenge you to go to double high C and above. We'll see if I'm up to the challenge. You should get this book.
Ralph Schwartz turned me on to this book while we were on tour together in Las Vegas, each of us practicing in our hotel room. I could hear these great flexibility exercises, and had to go ask Ralph what book they were from.
Best wishes, my diligent young friend!
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Ray

[Shaft]

Do you play with your lips apart?
Do you use pressure to play?
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[butxifxnot]

Swollen lips after two weeks? That doesn't sound right. I would challenge anyone's assertion that your chops are "overworked" after two weeks of NOT playing!

It sounds to me like you just need to warm up. Don't mess with different equipment: the problem didn't come about because of an equipment change, so you really shouldn't look into it for the solution...

Get a proficient teacher's opinion, if you really think the equipment may be the source. But I think you just need a good warm-up.
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-Adolf Herseth

[waltisbadical]

I used to find myself with stiff chops after playing too much or too hard. I went and took a lesson from Boyde Hood (LA Phil) and he introduced me to his mouthpiece routine that he uses in the morning. In a way, it's a variation on the stamp routine.

The idea behind it was to simply buzz the mouthpiece and keep the air moving. This put blood back in the chops and brought the swelling down. I find that if I start the day with this it really helps.

Also, something I have now heard from more than one great player, including Boyde and Malcom McNab is to use breath attacks. In essence start the day by buzzing into the mouthpiece without a tongue attack. Start the air and let the lips begin to buzz. I've even used this on gigs when I'm feeling my response is failing me. It seems to bring the embouchure back together and allow the lips to buzz properly.

I find that the key to getting rid of stiffness in the morning is to begin with something that has minimal pressure but gets the blood and the air going. As trumpet players I think we too often revert to more pressure and less air when things aren't working. It's not that we are stupid it's just that we are human and when something starts to go wrong (especially on the trumpet) we immediately begin to assume the worst, think irrationally, and then finally make things much worse than they already were.

When you wake up stiff in the morning, accept it, and then tell yourself, "today is going to be a longer warm-up than normal." The minute you accept the fact that it's going to take 30 minutes to get going rather than 3, you'll get away from doing something stupid, like jamming the horn in your face and making it worse.

90% of playing the trumpet is mental
9% of playing the trumpet is air
1% is the rest of the technique

When you get your chops back into shape and get this things together in the morning then 100% of you trumpet playing can be music, and that's the reason we all got into this in the first place.

Hope these thoughts help, and check out Boyde's mouthpiece routine.
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[rayofson]

[Ed Lee]

The old stressor story! First, out of my pocket comes a mpc on which I buzz whenever I can, just lightly and enough to simulate the sound of a light F--T. Too, I'm a freak in usage of ChopSavers, finding them also great just for weather conditions.

Rest, you betcha and one reason I never thought of pursuing a primary vocation in music with my horns. One doesn't get enough rest traveling from gig to gig or attempting to rest upon strange beds. Too, the frequent "red eye" flights just weren't my thought as a life pleasure. Some will but not me ... I liked calls to locally sit and augment the touring
musicians or just to play with local musicians performing in clubs or events and even then not steadily. I had no ego for recognition ... just the extra $$$.

However, if I may, I'd suggest seeing the doctor if swollen lips persist.
Somewhere lately I read about focal dystonia and neuralgia. I do recognize that I have Type II Diabetes and am hyposensitive upon all areas of my flesh, i.e. I now bruise readily and that includes my lips. On a regular basis why try a double C on standard Bb trumpet when with a piccolo trumpet it is a breeze ... not that with Parduba mouthpieces in both I'm still often reaching for Heaven ... Praying to get there eventually, one way or another.

Mostly now I just sit and play for my own enjoyment or to record a CD as my own brass quintet ... yup, playing all parts some on those other horns ... that I give to my wife, my daughter, my older brother, cousins, and friends. Yeah, practice ... the same part over and over ... is as unnerving to my wife as it really is to me, but so I don't disturb her I use Yamaha Silent Brass system and if one doesn't know it's the same electronics in the one for trumpet as it is for Tuba and the other horns, the only difference being in the mute "silencer".

Gone now for the day ... Ed Lee

[hvand]

[Ed Lee]

After a little deliberation, I think one factor is missing ... hydration. Certainly when your mouth and lips are dry they are much more prone to damage ... much the same as your auto engine without oil. Thus, on breaks at gigs or intermission I'd recommend we all guzzle some pure water. Too, it wouldn't hurt to splash some in your face. I've never been on stage when the lights and effort didn't cause me to sweat, thus the salt that finds its way to my lips irritates and inflames them. Louis used his holding handkerchief to wipe this perspiration and I've seen him dip it in water and wipe while picking up a fresh one to continue. --- Ed Lee