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Open embouchure?



 
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atrumpeteer
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Joined: 18 Feb 2008
Posts: 32
Location: Florida

PostPosted: Mon Apr 07, 2008 2:22 pm    Post subject: Open embouchure? Reply with quote

From what i've been reading it seems James Stamp approach is more of an open embouchure. Many people seem to say that open embouchure causes range, and endurance problems. Also did Stamp really care whether you were closed or open? I'm not sure i think i play both open and closed sometimes, but I don't think about it really.

Although I am interested in finding out about this.
Please tell me more about the open embouchure benefits.
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trumpetDS
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Joined: 16 Jan 2003
Posts: 563
Location: New Jersey

PostPosted: Mon Apr 07, 2008 2:50 pm    Post subject: Reply with quote

I am by no means a Stamp expert, however, I do not find that his method advocates an open aperture. In the Stamp book, Stamp recommends breathing in on the syllable "up" which brings the lips together. I would think would make for a smaller and more focused aperture.
I used to intentionally play with a very open aperture. I loved my sound but had absolutely no control of the pitch above G on top of the staff or the pitch on crescendos/ descrescendos. I have alternated between Stamp and Thompson in my daily routine for about 8 years now and do not experience this problem anymore.
Hope this helps.
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Yamahaguy
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Joined: 09 Dec 2004
Posts: 3737

PostPosted: Mon Apr 07, 2008 3:02 pm    Post subject: Re: Open embouchure? Reply with quote

atrumpeteer wrote:
Many people seem to say that open embouchure causes range, and endurance problems.
Maynard played with an open embouchure...so does Roger Ingram and Bobby Shew- no range or endurance problems there.
When I took lessons with Roger, he had me try it...didn't work for me. But it sure does for him!
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hornkid
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Joined: 06 Apr 2005
Posts: 83
Location: Bloomington IN

PostPosted: Mon Apr 07, 2008 7:07 pm    Post subject: Reply with quote

My understanding is that "open" in the Stamp context merely means that there is minimal tension between the lips when playing the trumpet. The lips are less "open" when buzzing the mouthpiece and even less so when freebuzzing. I understand "closing" the lips to mean adding some minimal tension between the lips.

To quote Roy Poper: "Jimmy believed that buzzing allowed a player what he called a "close vibration--he meant that as "near"-- not "shut" or "tight"...Loosen the center of the lip when buzzing the mouthpiece {after freebuzzing}. We want less lip tension when buzzing on the mouthpiece than we had when we buzzed the same note on the lips alone...Close the lips to go higher."

I don't think the terms "open" or "closed" refer to a specific embouchure set but rather an explanation of how buzzing (on lips or mp) relates to actually playing the instrument and how we apply minimum tension at all times to produce a given note.
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