Finding the 'Sweet Spot'

[trumpet56]

For me it is about being able to play with a vibrant resonant sound. This is created by a balance of core and overtones. Without this balance the sound is dull. This dullness is caused by too much tension in my embouchure. In my warmup I begin with 'Lip flaps'. activating the muscles in the corners of the mouth and then move towards a relaxed buzz (lip vibration), I then transfer the feeling to the mouthpiece. This is followed by lip bends and lip slurs on the trumpet. Short breaks between these steps is essential so the embouchure doesn't get tired and I am ready for the etudes, solos etc.

[abontrumpet]

Not sure if this is a question or instruction, but a person will never find the "sweet spot" if they do not know what they want to sound like. You can do lip bends for life and if your concept of sound is a pinched raspy sound, you'll never successfully assimilate the "sweet spot" into your playing. Listen to greats, record yourself, listen to yourself, listen to greats....repeat.

The aural informs the physical and the physical gets encoded in the aural.

[Rbmcneil]

To me, the sweet spot is the place in the note that I want to be. To create the sound that relays the message I'm trying so hard to convey. That's what my definition of practice is...to acquire the skill on my instrument needed to create that note. I think that's why so many accomplished players recommend long tones.

[JayKosta]

[trickg]

I talked the other day about me being a pragmatist in my approach to trumpet. I know that in years past my sound was influenced by Wynton's classical albums, which is interesting because for the records I was listening to, he played virtually none of it on Bb.

In any case, when I was at my technical best, I never thought about it too hard other than to always try to play where things were the most relaxed, most focused, and most efficient. For a bit I adopted the idea of playing on the "dark side of the pitch," but ultimately I figured the best place to be was as right up the middle as possible - it's the most resonant, vibrant place you can be.

So how to achieve that? I never gave that much thought either. I just played a lot of long tones, and worked on basic chops technique a fair bit - lots of articulation, lots of lips slurs, and all at a moderate volume and in moderate ranges on the horn - mostly top line F and down.

So far that seems to have worked out ok.
_________________
Patrick Gleason
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"95% of the average 'weekend warrior's' problems will be solved by an additional 30 minutes of insightful practice." - PLP

[Billy B]

[kalijah]

[trickg]