Posted: Mon Aug 23, 2021 9:35 am Post subject: Maynard Clinic Excerpt
There is a trumpet clinic given by Maynard on YouTube entitled, "Maynard Ferguson Clinic at San Jacinto College South 1993." Within that video there is a section that Maynard shows his jaw position and his approach to the upper register. It is hard to hear the audio so I pulled that particular section out of the video and enhanced the audio the best I could and made a YouTube video of just that section. In the YouTube description I tried to transcribe what I could understand, If you can figure out the parts that I couldn't I would appreciate you letting me know. Anyway, I hope you enjoy this clip.
Joined: 24 Dec 2018 Posts: 3297 Location: Endwell NY USA
Posted: Mon Aug 23, 2021 11:16 am Post subject:
Thanks for the video edit.
At about 28 seconds, he seems to demonstrate having his upper teeth far forward of the lower teeth, and then talks about 'pulling it back' for the air stream. And the VISUAL action that I see looks like the position of the upper teeth moving backwards relative to his chin and lower teeth.
My guess is that he has the 'feeling' of pulling his upper teeth rearward, and having his lower teeth & lips remaining in position on the mouthpiece rim.
I'm interested in what other viewers actually SEE him doing, and not so much the words he is using. _________________ Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'.
Thanks Jay. I originally wasn't going to share my thoughts, just the video. But I'll go ahead and share what I think. I tried to mimic what I see Maynard doing. Two things stood out for me. 1) Using this position when you close it up it easily makes the Maynard double lip, or rather it unfurls the top lip. 2) I've always thought of an open aperture in a vertical plane, i.e. looking straight ahead at the black hole (aperture) where you would lower the jaw to increase the size and raise the jaw to decrease the size. By tucking the lower lip in behind the upper lip and leaving a big space, you easily create a huge sound in the lower register with an open aperture, but in a horizontal dimension instead of a vertical, i.e. slide the jaw forward and it closes down the aperture and pull the jaw back it increases the size of the aperture. This is just my take on what I see and like you said Jay, it would be interesting to hear what others think. _________________ Kenny
Stomvi Big Bell S3
Always remember that you are unique just like everyone else!
Joined: 24 Dec 2018 Posts: 3297 Location: Endwell NY USA
Posted: Tue Aug 24, 2021 11:29 am Post subject:
And it would be interesting to learn what others have SEEN or been TOLD regarding MF's embouchure technique. Perhaps from other videos, clinics, personal contact, etc.
It can be a big challenge for a player to really understand what they are DOING, and then another big challenge finding the words to explain it to another person. _________________ Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'.
Thanks for drawing attention to this clip - I am familiar with the clinic. As far as this clip goes I think Mayn is struggling to articulate his approach other than to say - things move. I think his super focussed air and support is what I am gleaning. I also think it is hard to describe what you are doing while playing, sometimes what it feels like doesn't line up to reality. He could be talking about keeping his aperture open as he ascends - which has been well documented. When he talks about the jaw stuff it could be interpreted as the Reinhardt-ism of "stay with the jaw". IE not meat-hooking the top lip, allowing the lip to vibrate and distributing & neutralising mouthpiece pressure. He tracks in a way that looks like a IIIB in this video, but it is really hard to tell - there's too much movement from him and the camera to say, but that would tie in with what he may be describing with the jaw. I don't think he is necessarily advocating that you recede the jaw in the upper register, maybe more describing how things for him naturally track and or move.
Personally I take more inspiration from the music, sound and drive than many of these clinics' technical discussions (with many great players) as often even if they can articulate what they do, which isn't always the case, it doesn't always apply as we are all built differently. That's why I liked when he was saying he supports and plays in a way a great singer would sing, or how a classical singer would teach you to sing - and this is more useful (imo) than any nuance of what he personally does with his jaw. I'd urge you to check out Peter Bond, who not only can succinctly talk the "nuts and bolts" but bases his approach on a vocal/singing model, resonance of sound and economy of air use. His book is "The Singing Trumpet" and well worth purchasing. His videos are on YT. Superb player!
I also took the time to clean the audio up for you, and anyone who may be interested. If you decide to use this on your clip, I would ask you credit me/Barkley Microphones. Otherwise, feel free.
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