A nice trick for reducing tension in the airstream

[Gate]

So, I've been convinced that the Valsalva Maneuver is the number one enemy. I've also experienced what Cichowicz calls "blocking" - it's like a miniature version of the VM, a reflex at the very moment you begin the tone. It's like I have a deeply ingrained psychological intuition that there needs to be a little explosion to get my lips to start buzzing, or perhaps the subconscious visualization is that the lips need to grip the air stream in order to buzz. Trying to undo these instincts is difficult, but when I overcome them, the difference is monumental. EVERYTHING is easier, I feel lighter, less physical discomfort, slurring anywhere in my range with ease, and, especially, the sound opens UP.

The trouble is, it's difficult to get back to that free blowing place with consistency. A crap day is a downward spiral - it sounds bad, so you double down on all the gripping that is causing you to sound bad.

But I found a way to describe what it feels like to blow properly. Hopefully it will help players or teachers communicate a positive image of what good blowing feels like, rather than a simple negative edict ("don't tense up"). This is the instruction:

Think lengthening the back of your neck - nothing crazy or difficult, just simply lengthen. It will give your head the right angle. Now here's the mantra: release air through the top of your head. Don't blow, per se. And whatever you do, don't blow through your lips!! That's the key. Imagine your wind just radiates off your head. You're NOT focusing it anywhere, especially through a tiny hole in your lips. Just blowing your wig off.

Sounds weird, but it helps me decouple the embouchure from the airstream so that necessary tension in the former doesn't lead to unnecessary tension in the latter. At the same time, it doesn't encourage you to lose all energy in the airstream by over-relaxing. Blow your wig off!

Hope that helps someone!

[Honkie]

This IS helpful, thank you.

I agree that air flow is crucial, and complicated. Some players have intuitive control of it, and others have to work on it. I'm in the second category, and visualizations like yours are helpful.

[Peter Bond]

The business about sending the 'air' out the top of your head is a vocal concept that I've used for many years. I think of sending the sound 'up' rather than wind because they are not the same thing.
The 'locking' or 'blocking' Cichowicz described can be avoided by keeping the chest elevated (like singing) when playing and releasing the sound as if singing. 'Lift' a little from the abdomen for accents or higher notes requiring more energy. Collapsing the chest and pressurizing the air downwards, on the other hand, is the enemy; downward compression can cause a strident, ugly sound (esp. at forte and above), and can lead to or aggravate existing hernias.

[Gate]

[mcstock]

I was lucky enough to get a lesson with Bob Dorer when I passed through Minneapolis a couple of years ago. He pointed out that I was letting myself get "shorter" on all my bad attacks. Learning to star the sound while getting "taller" has been one of the most helpful things I've ever been told.

Matt
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[mcgovnor]

Interesting...thank you Peter. I have found that thinking the attack begins with the inhalation, and that they share the same start and end point, helps me. Additionally, playing the mouthpiece helps me achieve a quicker and more relaxed response.

[Shipham_Player]

Massively agree to everything in this thread although 'Blow your wig off' is a first for me!

I've read loads of similar advice on TH on ways to relax/reduce tension etc but the recent post entitled A Strange Problem contains the best advice I've ever seen - reproduced below:

Agree %100. I like to think of Valsalva Maneuver activation as a gauge, the goal should be to play with the gauge on zero ALL THE TIME. What most players don't realize is that they start "moving the needle" of the gauge an octave lower of the highest note they can't play. If someone wants to improve the high register, the focus should be an octave lower of one's highest note to make the "needle" go to zero again. I hope it make sense.
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Boy does this make a huge difference if you can remember to think the right way - everything feels way easier especially high register.

Very hard to maintain when you first try but even after just a week trying to think this way while playing it's astonishing how easy playing feels when you get it right.

Now I understand what CG meant when he said 'Brass playing is no harder than deep breathing' (or something like this!).

Obviously not figured this out in a week but finally have a mental picture of how to do it and for me it's the biggest change to my playing n 30 years. Off to practice it now!
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[Peter Bond]

My playing and teaching is based on literal singing and speech models, and I believe they are a good guide for the self-taught player.

Even after studying with Jacobs, Cichowicz, and Herseth, the "Chicago school" "wind and song" pedagogy never worked for me (though I picked up many valuable things from these men, especially psychological).
Timing of attacks is especially problematic with the concept of never stopping the wind; in-out, constant motion. In real life, we frequently get no luxurious preparation from conductors (who may in turn be waiting on a stage cue or for a soloist). Releasing the sound exactly the way I would speak solves this problem for me.
I also have little use for gigantic, hysterical breathing. The trumpet doesn't require it.
I don't totally reject any concept out of hand, we are all different, and some players respond better to certain approaches/ideas/concepts than others. I use everything in my teaching, but the vocal models for breathing, articulation, and sound production have brought my playing to a level I never thought I would reach.

[shofarguy]

I would like to here (read) more about two things in this thread: What is the Valsalva Maneuver; and Peter, please explain more about speech-like releases.

I loved reading how you believe speech and singing models are so useful. Most of my best training and performing has been vocal. When I began my comeback as a trumpet player, I sought to use what I had learned vocally to overcome problems (many of which you describe in this thread) I had in my trumpet playing. I use many singing techniques to better my breathing, projection, etc., but articulation is and has always been a weakness for me.

Thank you ahead of time!
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Brian A. Douglas

Flip Oakes Wild Thing Bb Trumpet in copper
Flip Oakes Wild Thing Flugelhorn in copper


There is one reason that I practice: to be ready at the downbeat when the final trumpet sounds.

[mcgovnor]

Yes..especially the psychological.

[Gate]

I second the request for more about the vocal techniques. My (recent) interest in the "Chicago School" is definitely not interested in copious amounts of air, but rather about the consistent flow of air, and also about the letting the embouchure do its thing. I think this is closely related to the vocal idea. Another insight I had recently was that I would suspect that if someone were to do a scientific study, they'd find that the exact same neuromuscular apparatus that governs speech, governs trumpet playing. When you consider that humans have highly evolved ability for speech, and that most children master the mechanics with little physical analysis, you start to desire an avoidance of 'paralysis by analysis' - that is, if you can sing a passage, there's no physical reason you shouldn't be capable of playing it. I wonder if any speech therapists and brass pedagogues have gotten together and compared notes?

The Valsalva Maneuver is a physical reflex to strain that locks air in your lungs. You experience it when pooping or doing some strenuous activity like lifting something heavy. In those cases, it's helpful. In cases where you want an airstream to exit with good flow, it's the absolute devil.

[shofarguy]

[dstdenis]

I came across an interesting tip to help articulate a first note cleanly. In David McGill's book, Sound in Motion, he suggested you imagine that the first note is a pickup note, even if it isn't. Pretend that the second beat is the downbeat.

For some reason, this helps one avoid the additional tension we sometimes produce in anticipation of playing the very first note.
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[Peter Bond]

[Derek Reaban]

To follow-up with current Peter's post, I have to quote Peter from 10 years ago (one of my favorite posts/topics ever on TH):

[crzytptman]

[agolden]

I love it!
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[trumpetchops]

From Peter Bond:

The high register, though, is different, and requires more physical effort, pressurization, wind speed, embouchure energy, etc., but playing vocally in the middle register is more musical, fluid, and expressive (you can sing aggressively, too. Not everything is a Concone study), and it saves your energy for the register that needs the extra "juice.

When do you start using more air?
I'm very interested in the idea of no tension. I can play up to G just above the staff without pushing. The same as talking. After that I have to start using a little pressure and a little more air.
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Joe Spitzer
Monroe Ct.

[INTJ-disable]

This is all good stuff and similar to what I visualize when playing in the extreme upper register.

I am not sure the description of valsalva is correct. The valsalva maneuver is the very thing that keeps pilots from getting ear and sinus blocks when descending. You take in air, pinch your nostrils closed, keep your mouth closed and glottis closed, and blow until your ears pop.

What is being described here is more of an M-1 maneuver, where a pilot is trying to keep from blacking out under G forces. You take in air and strain against a closed glottis. You do this in short, 2-3 sec bursts. The issue with the M-1 is if you keep at it for too long, 6 sec+, you can blackout from shutting down return blood flow to the heart, very similar to what happens sometimes when we are too tense and are playing in our extreme upper range.

The L-1 maneuver is similar as the M-1 maneuver except you don't close your glottis. The USAF decided that was a better way a few years after they had already taught me the M-1. The L-1 is a better way to approach the extreme upper range of the trumpet, but trumpet players do not need anywhere that much air pressure, and for a trumpet player the glottis should be completely open.

So while I am quibbling with the definitions of things, I do agree with the end result. We need to be as relaxed as possible, using air pressure as efficiently as possible. A relaxed and open glottis gets us there. When we tense up and close the glottis we wind up compensating by adding more air pressure. At best the note shuts off at worse we pass out.

In retrospect, looking at this issue this way helps me understand why I struggled for so long with using too much air pressure. As a young USAF student pilot 30+ (gulp) years ago, I learned the M-1 maneuver (later called the anti-G straining maneuver or AGASM) to avoid blacking out when pulling Gs. When I came back to trumpet, I applied this approach to trumpet. While it helped initially, it wound up being an obstacle to overcome in the long run.
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[kalijah]

trumpetchops wrote: