Alignment, embouchure & range

Proteus · Posted: Fri Sep 01, 2023 6:01 pm Post subject: Alignment, embouchure & range

Thought I'd share this for those who have a similar range issue.

Background: Came back to trumpet in '09 but never had any range above the staff. Struggled to get out an A. Playing half-&-half, Schilke 14 mp. Got plenty of air and compression, been doing a variety of range exercises including scales, arpeggios, playing softly, increased "diaphragm" support, more air compression, etc. for several years but nothing worked, just could not hold the center together. *Very* frustrating and limiting.

Recently recalled a lesson I had with John Taber when I visited him in retirement in New Zealand in 2013. He was my trumpet teacher in the 70s for almost two years at McGill University (now Schulich School of Music) and principal in Montreal, l'Orchestre National Bordeaux Aquitaine and New Zealand before retiring. During the lesson he placed a pencil between my teeth and it was maybe 30 degrees below horizontal. Told me to push my lower jaw forward until the pencil was horizontal and play in that position. Tried it, results were awful. Tried it again years later but couldn't get it to work, just felt...wrong.

Recently: Tried it again about ten days ago and got it to work! Felt very different/strange at first but in one day it completely changed my playing.

Results: I'm 68, been playing in concert bands, big bands and orchestra for years...but for the first time in my life my chops feel absolutely solid, anchored and consistently dependable. My sound has opened up, is very centered and has overtones that never existed before. Intonation is better, dynamic control is easy and slurs are effortless. Best of all, I'm now up to a B above the staff and range is increasing every few days.

Caveat: A universal fix? Not at all. But if you struggle with getting above the staff or with other issues you might want to check teeth & airstream alignment and see if it helps (all other things being equal).

Freely offered : )
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JayKosta · Posted: Sat Sep 02, 2023 5:34 am Post subject:

The 'amount' of jaw movement will vary from player to player.
I think that an important part of what you are describing is controlling and adjusting the distribution of rim pressure between the upper and lower lips.

The rim pressure on the lower lip is important to produce a secure placement of the mouthpiece, and to adjust the pressure on the upper lip - to enable the upper lip to vibrate 'as needed'. It can also be used to adjust the specific portions of the lip tissue in the aperture.

I think that 'lower lip rim pressure' is one of the most often neglected fundamentals of embouchure.
_________________
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'.

Proteus · Posted: Sat Sep 02, 2023 6:45 pm Post subject:

Thanks for the feedback, Jay. I also realized today that moving the lower jaw forward automatically brings into play the chin muscles (in my case, anyway), something I have always struggled to achieve (flat chin, therefore a balanced/complete embouchure). Or, specifically, the lower half of a decent embouchure. No wonder things are now working properly.

With this new 'set', the substantial role and movement of the lower lip is also becoming very evident. Wonderful to be discovering these things at this age, in addition to being able to play things previously unattainable.
_________________
Bach 239 C
Kanstul 700
Getzen Proteus 907S Bb
Bach Strad 37 Bb (70s)
ACB Doubler flugel
Getzen Capri cornet

JayKosta · Posted: Sun Sep 03, 2023 4:07 am Post subject:

Adjusting the lower lip 'rim pressure' can be done without noticeable actual movement of the jaw - just a little more 'jaw pressure'.

I believe that the advice to 'use less rim pressure' often really means to 'transfer' the pressure from the upper lip onto the low lip.
Excessive upper lip pressure can inhibit (and completely stop) the ability of the lip to vibrate - by transferring pressure from upper to lower allows the upper limit more freedom to vibrate.

I DO realize that not everyone will benefit from using the jaw in this manner, but I think it is worth trying.
The functional 'goal' is to provide enough lip flexibility to allow air flow and vibrate at the desired pitch.
_________________
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'.