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Protruding tooth for notes above the staff

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PostPosted: Sun Feb 21, 2021 4:31 am    Post subject: Protruding tooth for notes above the staff Reply with quote

Hello all
I have been playing the trumpet for 4 years. Self taught. I think progress has been good enough. 2 weeks ago I found Charles Colin Advanced Lip flexibility studies (thanks to this forum) I started playing study Number 12. I set myself the objective of playing the first half of this - 12 lines of music - ten times a day. (once an hour or so) First two days went great. Day 3 I was struggling.. then I noticed if I moved my mp 2mm left (to a position which is now dead centre) & favouring (or at least no longer avoiding) my (slightly) protruding top central incisor tooth, I could handle the notes above the staff easier.

For the last 4 years I have been playing 2mm off dead centre favouring the top incisor which is a touch indented.. slants (slightly) inwards.. this set up felt more comfortable.. more of a "nestle" feel. I assumed this nestle set was the optimum one. I now think this assumption was wrong. Yes or No?

For last 3 days I am now in the dead centre /protruding tooth included/ mode - notes are all over place and often coming out completly wrong too high or too low / which I take as encouraging - shows the set up change is significant. I also console myself with the thought that this new approach favours a padding approach to lips which is consistent with my Balanced Embouchure way of thinking.

The really switched on trumpet teacher - which I never had - could have asked me to open my mouth in the very first lesson and made some observations - so do any of you as Trumpet teachers do this? Inspect teeth as the very beginning? Of course it could be I am barking up the wrong tree / tooth altogether and the new set up only worked because it was different / used a fresher part of lip etc..

any input appreciated, thanks steve
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Location: Spain

PostPosted: Sun Feb 21, 2021 3:37 pm    Post subject: Reply with quote

This sounds like a direct embouchure change attempt. That approach has not worked for me. Maybe for you yes. I like the indirect approach better, it can be slower, more stealthy, but also more secure, more solid. I also practice BE, when I get into other things, I don't think about my mouth, my teeth, my lip, my throat, or anything like that. I think about the notes, the tempo, the intention etc.

I play the trumpet for fun in my free time
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Rod Haney
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PostPosted: Thu May 13, 2021 7:34 am    Post subject: Reply with quote

There is some good information about optimum placement of the mouthpiece for people with irregular teeth in the Stevens Costello method books. Also good advice on optimum airflow IF your chops can do the settings. You may not be able to, but it’s the best info I’ve found on optimizing operations for range. I think qpress has it. Good info whether you can use it all or not.

Many call this upstream and cannot use the full method, but I have found no flaws in the information which I think might be useful to anyone. I also found it useful to visualize a simple drawing by shew that shows where to aim the airflow into the cup. You can find it using google.

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mike ansberry
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PostPosted: Thu May 13, 2021 8:56 am    Post subject: Reply with quote

If it works, give it a try. See how it turns out.
Music is a fire in your belly, fighting to get out. You'd better put a horn in the way before someone gets hurt.
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PostPosted: Thu May 13, 2021 6:07 pm    Post subject: Reply with quote

I can't say where I read about this, but somewhere I have heard about placing the mpc on a high spot...that it is a good idea...I have a set of slightly protruding two upper front teeth and I do place the mpc against them. I thought about getting some cosmetic dentistry done to straighten my teeth a little (they are just a little off, not that much) with invisiline or something like that which wouldn't involve braces, but I decided not to risk losing the high spot on my teeth which seems to be a facet of my embouchure.

So there's that which might suggest that you are onto something. If I were you I would play around with it for a while and tolerate a little temporary uncertainty and see where you go with it. Be aware that your pivot might change some and that a pivot or embouchure track is not always just up and down, but may be slightly to the left or right. That's what happened to me when I had a few embouchure consults with a Reinhardt chop doc (Dave Wilken).

I hope some of this is helpful...
Trumpets: 1928 Holton Llewellyn Model, 1957 Holton 51LB, 2010 Custom C by Bill Jones, 2011 Custom D/Eb by Bill Jones
Flugels: 1975 Olds Superstar, 1970's Elkhardt, 1970's Getzen 4 valve
Cornet: 1970's Yamaha YCR-233S . . . and others . . .
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PostPosted: Thu Sep 22, 2022 1:33 pm    Post subject: Steve’s highpoint Reply with quote

There are numerous examples of successful players that have irregular teeth, and they invariably play or anchor on the highpoint. (Bergeron, Dowdwswell)


These links are instructive discussions:
https://youtu.be/uUAjXDBkECE (at about 2:00)
Basically, the high point does two things. 1. It allows the lips to contract toward the highpoint without restriction or without being pinned by other contact points. In other words, the lips are not frozen in place by a large surface contact area. 2. Since there is a single or small contact point, overall blood circulation is increased in the lips. This aids endurance.
I’ve also been experimenting with creating an artificial highpoint by placing a small bit of Sculpy on the rim, then placing the rim highpoint in the enter of my Embouchure. It makes an immediate improvement in tone center, endurance, and range. The highpoint may be helpful for the top lip, bottom lip, or both.
Patrick 5.3C
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