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FRANCIS MAZIERS Regular Member
Joined: 04 Dec 2020 Posts: 25 Location: France
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Posted: Wed Jun 29, 2022 12:56 am Post subject: How to change lips tension ? |
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Hi all trumpeters,
To change pitch we have to change the tension of the lips and the air pressure according to variable resistance that is created in the pipe and the loudness that we want.
But what is the best way to change this tension?
Thanks for sharing your thoughts.
Best regards.
Francis. |
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JayKosta Heavyweight Member
Joined: 24 Dec 2018 Posts: 3309 Location: Endwell NY USA
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Posted: Wed Jun 29, 2022 2:54 am Post subject: |
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The primary goal is to adjust the lips so that vibration / pulsation at the desired pitch can be achieved by an air flow - so the lip tension (or some call it posture, positioning, adjustment, etc.) must ALLOW some amount of lip movement, and the movement must be obtainable by the player producing air flow.
Anything that PREVENTS movement or air flow is not effective.
The description 'lip tension' is problematic because 'tension' is commonly understood in terms of stretching something - such as a guitar string.
The lip adjustments used for playing is much more complicated, and includes aspects of horizontal tension, horizontal contraction, vertical separation, vertical compression, lip in/out rolling, upper & low lip rim pressure, etc.
Describing how to do those actions can lead to misunderstanding because it seems to be typical for people's 'feeling' of what they are doing to be very personal - and not information that is easily transferred to another person.
My understand from researching various 'embouchure methods' is that they ALL depend on what I first mentioned as the 'primary goal', and they have their own individual ways of achieving and describing how to DO the physical actions that are needed.
If you read/hear people describing their way of lip adjustment, think about how it is useful for the 'primary goal'. The important part is NOT the words they use, but the physical embouchure actions that they do. _________________ 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'. |
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gwood66 Veteran Member
Joined: 05 Jan 2016 Posts: 301 Location: South of Chicago
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Posted: Sun Jul 03, 2022 6:15 am Post subject: |
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I would suggest playing chromatic exercises (clarke 1 then two octave chromatics) while ensuring you maintain a steady air stream to training the embouchure to make the minor adjustments needed. Focus on making a good sound and not trying to steer/manipulate your embouchure. You can move to scales and then different intervals.
My experience in general has been that it is ok to be aware of what my embouchure is doing (or what I think it is doing). However, the minute I start trying control individual pieces and parts while I am playing I typically upset the balance by introducing unwanted tension or other movements that are counterproductive.
As with everything trumpet, some will probably disagree and your mileage may vary. _________________ Gary Wood (comeback player with no street cred)
GR 66M/66MS/66**
Bach Strad 37
Getzen 3052
Yamaha 6345 |
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FRANCIS MAZIERS Regular Member
Joined: 04 Dec 2020 Posts: 25 Location: France
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Posted: Sun Jul 03, 2022 9:59 am Post subject: |
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Hi gwood66,
Thanks for your advises.
I totally agree with you and the Clarke’s are very good. If they are done well (pp) I can feel clearly what’s happening in the chop.
My post was just to emphasize that it is not “more air” or the “speed of the air” that change the pitch higher. It is a big misleading, I think, for people trying to play trumpet like for me before. Since I realized that it is the balanced between PRESSURE and TENSION I’ve made a lot progress.
Best regards.
Francis. |
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FRANCIS MAZIERS Regular Member
Joined: 04 Dec 2020 Posts: 25 Location: France
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Posted: Sun Jul 03, 2022 10:07 am Post subject: |
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Hi JayKosta,
Thanks a lot for taking time to share your experience.
It’s always a pleasure to read your posts.
Best regards.
Francis. |
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Uberopa Heavyweight Member
Joined: 11 Dec 2003 Posts: 932 Location: Canada
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Posted: Sun Jul 03, 2022 12:57 pm Post subject: |
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The Stevens Costello Triple High C embouchure method refers to the use of the letter "M" to produce lip compression or tension if you will. I am operating from memory because I loaned the book to a student never to be seen again. |
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abontrumpet Heavyweight Member
Joined: 08 May 2009 Posts: 1784
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Posted: Mon Jul 04, 2022 2:29 am Post subject: |
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For most, thinking of it as "lip-tension" is counter productive.
People think of it in a variety of ways, but I personally think this aspect of trumpet playing is best left to the subconscious until you're more advanced. You will eventually discover your "sensation" and it will get integrated into the subconscious mind. |
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