The Stevens-Costello Triple C book

[Lionel]

Available various places. While I don't and can not use the Costello forward jaw embouchure I am still a huge fan of the exercises. That and practicing pressure-less.

Granted the book stirred up controversy. This due to both Roy's and William's (Stevens & Costello respectively) insistence upon using that forward jaw embouchure setting. And from my perspective the dissent among failed and failing students of Roy's is justified. As Doc Reinhardt so eloquently noted,

"You can't fight mother nature".

Reinhardt had a host of students who couldn't apply the chop settiing of Stevens-Costello. And if you ever get a chance to hear Chris Labarbera, (noted master trumpet player) to chat on this matter his thoughts are impressive.

But while the Stevens-Costello directions to form an embouchure are often ill suited for a given brass player the exercises and at least some of his theory is invaluable. Especially the palm practice method. Damn that practice method seems to me to be the single most effective upper register training skill there is. Coupled with Costello's simple arpeggio routines even a hard core "downstream" player like me can develop a solid feel for the extreme high register. Case in point,

Last Nov I quit a big band I was playing lead trumpet in because of various disagreements. Soon after I discovered myself becoming really out of shape. As I had been using this job to maintain strength, accuracy and endurance in the upper register. And it had become a problem big enough to require addressing. The previous three years I had developed some fine lead chops. Good to high G on phrases and about a minor third higher for loud last notes in charts.

(Just as an aside I don't necessarily consider a high note that a trumpet player can finish a chart with as part of his range. Instead I consider his range any note he can play with emotion and musicality in a melody as being a part of the high range. In practice this usually runs about a minor third to a oerfect fifth below the highest note he can finish a chart with. . )

What to do? Well first of all I didn't panic and most importantly didn't set any unrealistic expectations on myself. Instead I just spent a week or so gradually working the Clarke Studies into daily practice. Also about this time I rejoined a concert band I once left. And this was when I started playing the Stevens System arpeggios and exercises exactly as written. Also with the horn just on the palm of my hand.

Was a little frustrating the first week as I couldn't play my high A (above high C) with the trumpet valve casing resting just on the palm of my hand. But only two short weeks later? I got both my high A and B natural to sound solidly in practice and just with the horn balanced on my palm

And as this has only been one month since starting over? I feel optimistic. Like eventually taking this thing to Brisbois like territory. And with the B natural below double C sounding at near forte volume just on the palm of my hand?

This is plenty of range! No need to switch from down to upstream. Now while some of Stevens-Costello isn't applicable to everyone, much of it is. So it's a good read if you stay open minded. Just like anything else in life. Take what works and leave the rest.

Various internet sources have the Stevens-Costello system available. Pretty sure Colin Music's got it. And Roy Roman's site too. Ya gotta love Roy Roman! And a dedicated man of the cloth too.

I believe the correct title is,

"Stevens-Costello Triple C Embouchure Technique"

PS: If the described system doesn't work for you? Don't blame me. As I'm only suggesting the exercises and palm practice technique as being univerally helpful.

Also, I do not use the book's described enbouchure setting either. So no one need to infer that I recommend it in all people. But if it does fit you? You truly can become a monster high note player within days. No exaggeration.
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"Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!

Carl Spackler (aka Bill Murray, 1980).

[Uberopa]

I owned a copy of this method until a student got his hands on it. The jaw forward position is compatible with the Cat Anderson and Maggio methods, I think. The palm method for producing "statics" seems similar to both the Cat Anderson and Caruso methods. Your opinion?

[Lionel]

[razeontherock]

[Lionel]

[chapahi]

I do the statics but not with the palm. I had a teacher show me these and it would start as a tiny whistle like sound then morph into a full beautiful note around double G or so. I've never got them to morph into musical notes (almost) but they do help me position my embouchure to play evenly.

This guy does a demo of statics....

https://www.youtube.com/watch?v=UP0JcS6ITxk
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Sima, Kanstul 1525 Flugel and Kanstul pocket trumpet. Olds Super

[razeontherock]

Interesting thread! I was going to say I've never heard a demonstration of statics, and have long wondered if I had discovered them on my own. Per chapahi's video link I would conclude "no," because those are blaringly loud. Or as Lynn Nicholson says, he's using both lungs. But then chapahi also writes about statics starting as a tiny whistle like sound, so maybe I did encounter them? My interest is mostly due to not really knowing if they do me any good at all, but they do sometimes seem to cause the effect Lionel speaks of: getting the lips into optimal position which just isn't possible if jamming the horn onto your face, squishing everything.

This is also an oddity that sometimes my playing day starts out best with (Reinhardt style) compression drills, super quiet no strain def not relying on pressure, starting on high C and going up. It just makes me get all my mechanics going right away, and exposes anything I might be doing wrong. So it can make for a very efficient warm-up, for me, when it works. Very much a "less is more" kinda thing.

Lionel, you have your own lathe? I have to wonder if you've ever been able to compare your own creations to what Jim New is making for Lynn Nicholson?

[Lionel]