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JayKosta
Heavyweight Member
Joined: 24 Dec 2018
Posts: 3308
Location: Endwell NY USA
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 Posted: Sat Oct 28, 2023 5:56 am Post subject: |
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| Destructo wrote: |
If you don't mind me asking, which of the following is the correct way to think of changing pitch on the instrument: ... |
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My opinion is that the 'how to do it' depends on the individual player - their physiology, muscle control, nerve sensitivity, etc.
The key part is that the player understands 'what has to happen' in order for the actions to give good results.
And that is pretty simple: the embouchure (lips, teeth, jaw, tongue, mouthpiece position / pressure, etc.) need to be adjusted so the resulting aperture is predisposed to vibrate at the desired pitch when air is blown through the aperture.
The player needs to avoid techniques that prohibit that from happening - such as too high rim pressure, to tight/small aperture, etc. And the technique needs to not injure or overly fatigue the player.
I think the player needs to think of the aperture as a 'control valve for the vibration rate', and not as a 'guitar string'.
_________________
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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Destructo
Veteran Member
Joined: 18 Apr 2022
Posts: 174
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| Posted: Sat Oct 28, 2023 5:46 pm Post subject: |
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Hi Jay,
I was specifically asking Kalijah for his perspective. I'm after a technical response rather than a philosophical one.
| Quote: | | the embouchure (lips, teeth, jaw, tongue, mouthpiece position / pressure, etc.) need to be adjusted so the resulting aperture is predisposed to vibrate at the desired pitch when air is blown through the aperture. |
The problem with this is that it's tautological and vague.
This is essentially saying:
Q. How do I play well?
A. By playing well.
It's true in the sense that nothing is clearly enough defined that someone could evaluate it for being factual.
Which is why I am trying to draw some more information from Kalijah about his model of playing.
Cheers! |
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chuck in ny
Heavyweight Member
Joined: 23 Sep 2006
Posts: 3597
Location: New York
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| Posted: Wed Nov 22, 2023 3:08 pm Post subject: |
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| RussellDDixon wrote: | From Allen's old website:
The following are typical and common pitfalls that cause stiffness, poor response, and general inconsistency in trumpet playing:
Not warming up - 15-20 minutes - always. (Specific warm-up material is in the Allen Vizzutti Trumpet Method books).
Practicing too many lip slurs in the upper register top of staff and above.- not necessary
Too many long tones - not necessary. Stifness caused by static mouthpiece / lip contact.
Concentrating and working on embouchure and corner strength - not necessary.
The above 3 items make me very stiff so I don't practice them unless I need to brush up a technical move in which case minimal practice on lip slurs for instance does the trick.
Playing too loudly. Not practicing enough softly. Not taking frequent short rests / breaks PLAYING A MOUTHPIECE THAT IS TOO BIG and it's inevitable result: TOO MUCH LEFT HAND OR FINGER RING PRESSURE.
Over blowing. Leaving the mouthpiece on your chops too long without a lift-off or lightening of pressure. Playing super heavy weight mouthpieces or trumpets - not necessary – this equipment creates artificial resistance and dead sound.
Not having an open mind.
Not being willing to experiment.
Bad hand position. Not inhaling habitually in a relaxed and deep way.
Tongue placement too low in middle and upper range.
Not using common sense - if practicing XXX or YYY makes you feel like **** than don't do it.
Here's what you need to figure out:
The concept of efficient tone production, steady smooth airflow, relaxation and aperture control.
Practice shorter times but more than once a day. If you sound terrible and can take a day off - do it. Go do home work. Hang with some cool people. Pick your friend's brains about trumpet - with a grain of salt.
Fundamentals never change but the interpretation of the techniques with which to establish sound fundamentals, pun intended, vary. There is no path that is exactly the same for all players but great ideas and solid musical materials work well for most of us. Good Luck. AV My book "High Notes" in the merchandise section has text and practical studies and etudes about all of this for the classical or jazz trumpet player. |
russell
i haven't been nagged on so many minute points since my wife was with us.
chuck |
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